We question Mark Evan Bonds’ interpretation of the deleted ending of Eduard Hanslick’s On the Musically Beautiful. We argue that there is no evidence that it reveals a commitment to Pythagoreanism or Idealism. We supply an alternative explanation of the deletion
Musical formalism is often portrayed as the enemy of artistic freedom. Its main representative, Edua...
The question why Arnold Schoenberg did not complete his oratorio Die Jakobsleiter according to his i...
This study examines the reception of Eduard Hanslick in Anglo-american discourse from its earliest i...
We question Mark Evan Bonds’ interpretation of the deleted ending of Eduard Hanslick’s On the Musica...
The content of music is not the representation of specific feelings, rather the content of music is ...
Hanslick's treatise On the Beautiful in Music (1854) is often taken to be a paradigm of 'scientific'...
The paper deals with the formalistic view on music presented in Eduard Hanslick’s treatise On the Mu...
Like the concept of aesthetic autonomy, to which it is closely connected, the idea of absolute music...
This article defends a formalist interpretation of Wittgenstein’s later thought on music by comparin...
This article defends a formalist interpretation of Wittgenstein’s later thought on music by comparin...
It is a common assumption that Hanslick was the main spokesperson for "absolute music." My research ...
This article deals with Eduard Hanslick’s aesthetic classic 'Vom Musikalisch-Schönen' (“On the Music...
Recent scholarship on musical aesthetics, notably in analytical philosophy of music, commonly identi...
Eduard Hanslick was a 19th century Austrian music critic whose aesthetic writings are heatedly debat...
The aim of Eduard Hanslick's treatise On the Beautiful in Music (1854) was, in his own words, to rev...
Musical formalism is often portrayed as the enemy of artistic freedom. Its main representative, Edua...
The question why Arnold Schoenberg did not complete his oratorio Die Jakobsleiter according to his i...
This study examines the reception of Eduard Hanslick in Anglo-american discourse from its earliest i...
We question Mark Evan Bonds’ interpretation of the deleted ending of Eduard Hanslick’s On the Musica...
The content of music is not the representation of specific feelings, rather the content of music is ...
Hanslick's treatise On the Beautiful in Music (1854) is often taken to be a paradigm of 'scientific'...
The paper deals with the formalistic view on music presented in Eduard Hanslick’s treatise On the Mu...
Like the concept of aesthetic autonomy, to which it is closely connected, the idea of absolute music...
This article defends a formalist interpretation of Wittgenstein’s later thought on music by comparin...
This article defends a formalist interpretation of Wittgenstein’s later thought on music by comparin...
It is a common assumption that Hanslick was the main spokesperson for "absolute music." My research ...
This article deals with Eduard Hanslick’s aesthetic classic 'Vom Musikalisch-Schönen' (“On the Music...
Recent scholarship on musical aesthetics, notably in analytical philosophy of music, commonly identi...
Eduard Hanslick was a 19th century Austrian music critic whose aesthetic writings are heatedly debat...
The aim of Eduard Hanslick's treatise On the Beautiful in Music (1854) was, in his own words, to rev...
Musical formalism is often portrayed as the enemy of artistic freedom. Its main representative, Edua...
The question why Arnold Schoenberg did not complete his oratorio Die Jakobsleiter according to his i...
This study examines the reception of Eduard Hanslick in Anglo-american discourse from its earliest i...
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