Hostname: page-component-586b7cd67f-r5fsc Total loading time: 0 Render date: 2024-11-29T01:03:25.606Z Has data issue: false hasContentIssue false
  • English
  • Français

Musicology and Intellectual History: A Backward Glance to the Year 1885

Published online by Cambridge University Press:  01 January 1984

Bojan Bujic
Get access

Extract

In 1892 Bernard Bosanquet wrote:

As the true value of German idealism in general philosophy was never understood, till the genius of English naturalists had revolutionised our conception of the organic world, so the spirit of German aesthetic will not be appreciated until the work of its founders shall have been renewed by the direct appreciative sense of English art and criticism.

As a Hegelian, Bosanquet had every reason to believe in the strength of the German idealist tradition, even if its supremacy was seriously challenged in the second half of the nineteenth century; as an Englishman, and brought up in the English philosophical tradition, he was fully aware of the important British contribution to both speculative and experimental psychology. However, bringing various intellectual and philosophical traditions together is no easy task and we can witness a continuing division in the orientation of many scholars who, although not philosophers themselves, felt the need to strengthen their critical theories with ideas which originated in the domain of philosophy.

Type
Research Article
Information
Proceedings of the Royal Musical Association , Volume 111 , 1984 , pp. 139 - 154
Copyright
Copyright © 1986 The Royal Musical Association and the Authors

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Bernard Bosanquet, A History of Aesthetic (London, 1892, 2nd edn., 1904), 440.CrossRefGoogle Scholar

2 Friedrich Nietzsche, Menschliches, Allzumenschliches, II/ii, §94.Google Scholar

3 Carl Stumpf, ‘Musikpsychologie in England’, Vierteljahrsschrift für Musikwissmschaft, i (1885), 261.Google Scholar

4 Charles Darwin, The Descent of Man (London, 1871).Google Scholar

5 Herbert Spencer, ‘The Origin and Function of Music’, first published in Fraser's Magazine in 1857, later included in Essays: Scientific, Political and Speculative.Google Scholar

6 Hippolyte Taine, The Philosophy of Art (English transl., London, 1865), 69.Google Scholar

7 Ibid.Google Scholar

8 August Wilhelm Ambros, Die Grenzen der Musik und Poesie. Eine Studie zur Ãsthetik der Tonkunst (Leipzig, 1856).Google Scholar

9 Charles Beauquier, Philosophie de la musique (Paris, 1865).Google Scholar

10 Jules Combarieu, Les rapports de la musique et de la poésie (Paris, 1894).Google Scholar

11 Friedrich Nietzsche, Menschliches, Allzumenchliches, I, §215.Google Scholar

12 Carl Stumpf, ‘Musikpsychologie in England’, 288.Google Scholar

13 For an assessment of Sully as a psychologist see Edwin G. Boring, A History of Experimental Psychology (New York, 1929, 2nd edn., 1950), 467–8.Google Scholar

14 James Sully, Sensation and Intuition (London, 1874), 288.Google Scholar

15 Ibid., 228–9.Google Scholar

16 Ibid., 196.Google Scholar

17 Ibid., 218.Google Scholar

18 Ibid., 197.Google Scholar

19 Ibid., 218.Google Scholar

20 Ibid., 338.Google Scholar

21 Published in Mind, v (1881), 270–8.Google Scholar

22 The question of obsolescence is, indeed, explicitly discussed by Schoenberg. See ‘Problems of Harmony’ in Style and Idea. Selected Writings of Arnold Schoenberg, ed. Leonard Stein (London, 1975), 269.Google Scholar

23 Edmund Gurney, The Power of Sound (London, 1880), 194.CrossRefGoogle Scholar

24 Ibid., 174.Google Scholar

25 Ibid., 208.Google Scholar

26 Ibid., 96.Google Scholar

27 Ibid., 248.Google Scholar

28 Ibid., 160.Google Scholar

29 Ibid., 214.Google Scholar

30 See Tovey, D.F., Essays in Musical Analysis: Symphonies and other Orchestral Works (new edn., London, 1981), 96.Google Scholar

31 Gurney, The Power of Sound, 229.Google Scholar

32 Ibid., 4. See also Grant Allen, Physiological Aesthetics (London, 1877), 129.Google Scholar

33 Herbert Spencer, Principles of Psychology, ii, §539 (quoted after 4th edn., London, 1899, 710).Google Scholar

34 Christopher Wintle, ‘“Humpty Dumpty's Complaint”: Tovey Revalued’, Soundings, xi (1983–84), 25, 28.Google Scholar

35 Roger Scruon, The Aesthetic Understanding (London, 1983), 34.Google Scholar

36 William J. Gatens, ‘Fundamentals of Musical Criticism in the Writings of Edmund Gurney and his Contemporaries’, Music and Letters, lxiii (1982), 18.CrossRefGoogle Scholar

37 Eduard Hanslick, The Beautiful in Music, transl. G. Cohen (Indianapolis and New York, 1957), 56.Google Scholar

38 Hanslick's original wording: ‘Ist es einmal in die Phantasie des Künstlers gefallen …’ suggests literally a descent, but the point is lost in Cohen's translation: ‘When once it has taken root in the composer's imagination…’. See Hanslick, transl. Cohen, ibid., 52.Google Scholar

39 Anton Ehrenzweig, “The Hidden Order in Art', The British Journal of Aesthetics, i (1960–61), 129.Google Scholar

40 Johann Friedrich Herbart, Psychologie als Wissenschaft, §152, quoted after Michael Podro, The Manifold in Perception (Oxford, 1972), 79.Google Scholar

41 Edmund Husserl, ‘Einleitung zur Vorlesung über phänomenologische Psychologie’, Materialen zur Philosophie Wilhelm Diltheys, ed. F. Rodi and H.-U. Lessing (Frankfurt, 1984), 154.Google Scholar

42 Ibid., 150.Google Scholar

43 The fragment forms a part of a composite work, Der Aufbau der geschichtlichen Welt in den Geisteswissenschaften, ed. B. Groethuysen, in Wilhelm Diltheys Gesammelte Schriften, vii (Leipzig and Berlin, 1927), 220–24.Google Scholar

44 Ibid., 221–22 and 223. English translation by Martin Cooper, prepared for the forthcoming Music in European Thought 1851–1912, to be published by Cambridge University Press.Google Scholar

45 Guido Adler, ‘Umfang, Ziel und Methode der Musikwissenschaft’ Vierteljahrsschrift für Musikwissenschaft, i (1885), 16–17.Google Scholar

46 ‘Richard, do not get so worked up.’ See Adler, Guido, Wollen und Wirken (Vienna, 1935), 15–16.Google Scholar

47 See Boulez on Music Today, transl. S. Bradshaw and R. Rodney Bennett (London, 1971), 44–46, and Carl Stumpf, Tonpsychologie (Leipzig, 1883), i, 136.Google Scholar

48 Stumpf, ibid., 182.Google Scholar