E. Hanslick(1825-1904) was a famous music critic in Romantic Period. He not only established 'Autonomous Music Aesthetics' in his main text 『Vom Musikalisch Scho¨nen』 but also wrote many critics actually. Through his critics, Hanslick supported J.Brahms's 'Absolute Music' and rejected Wagnerian 'Pro...
E. Hanslick(1825-1904) was a famous music critic in Romantic Period. He not only established 'Autonomous Music Aesthetics' in his main text 『Vom Musikalisch Scho¨nen』 but also wrote many critics actually. Through his critics, Hanslick supported J.Brahms's 'Absolute Music' and rejected Wagnerian 'Program Music'. But we can find in his critics many problems conflicting with his own aesthetic theory. At this point we can't help surveying his genuine purpose. This thesis aims t o compare his aesthetic theory with his actual critics and make clear Hanslick's original purpose. At first, the concept of 'Form' used clearly and consistently in Vom Musikalisch Scho¨nen』 was not grasped so clearly in his actualcritics. Therefore we can't define his concept of 'Form' by one word. And another problem, though Hanslick denied traditional 'Doctrine of Affection' in his main text 『Vom Musikalisch Scho¨nen』, he accepted in many critics the influence of music to human affection. His concern was pointed at the beauty of music itself. But Hanslick's aesthetic theory doesn't always conflict with the actual critics. Because the object of his aesthetics in 『Vom Musikalisch Scho¨nen』 was only pure instrumental music, and therefore Hanslick admitted many times the fact that there might be another principles in the cases of vocal music. In Hanslick's critics, the relationship of music and affection varied in accordance with so many conditions. Although he accepted 'Affection', that is to say, the influence of music, he didn't admitted that as the subject of aesthtics. The term 'Originality' doesn't appear in his '『Vom Musikalisch Scho¨nen』, exept only one time in adjective form. But in actual critics, 'Originality' appears so many times as an important criteria. In case of Hanslick, in another words, the concept of 'Originality' obtains aesthetic importance only in actual critics. To understand the essence of Hanslick's musical aesthetics, in conclusion, we need to pay attention to his actual critics as well as his theoretical writings. By this way only, we can find Hanslick's genuine purpose. The subject of this thesis is limited to some principal problems, such as 'Form and Matter', 'Affection', 'The Beauty' and 'Originality'. More researchs about other problems are expected.
E. Hanslick(1825-1904) was a famous music critic in Romantic Period. He not only established 'Autonomous Music Aesthetics' in his main text 『Vom Musikalisch Scho¨nen』 but also wrote many critics actually. Through his critics, Hanslick supported J.Brahms's 'Absolute Music' and rejected Wagnerian 'Program Music'. But we can find in his critics many problems conflicting with his own aesthetic theory. At this point we can't help surveying his genuine purpose. This thesis aims t o compare his aesthetic theory with his actual critics and make clear Hanslick's original purpose. At first, the concept of 'Form' used clearly and consistently in Vom Musikalisch Scho¨nen』 was not grasped so clearly in his actualcritics. Therefore we can't define his concept of 'Form' by one word. And another problem, though Hanslick denied traditional 'Doctrine of Affection' in his main text 『Vom Musikalisch Scho¨nen』, he accepted in many critics the influence of music to human affection. His concern was pointed at the beauty of music itself. But Hanslick's aesthetic theory doesn't always conflict with the actual critics. Because the object of his aesthetics in 『Vom Musikalisch Scho¨nen』 was only pure instrumental music, and therefore Hanslick admitted many times the fact that there might be another principles in the cases of vocal music. In Hanslick's critics, the relationship of music and affection varied in accordance with so many conditions. Although he accepted 'Affection', that is to say, the influence of music, he didn't admitted that as the subject of aesthtics. The term 'Originality' doesn't appear in his '『Vom Musikalisch Scho¨nen』, exept only one time in adjective form. But in actual critics, 'Originality' appears so many times as an important criteria. In case of Hanslick, in another words, the concept of 'Originality' obtains aesthetic importance only in actual critics. To understand the essence of Hanslick's musical aesthetics, in conclusion, we need to pay attention to his actual critics as well as his theoretical writings. By this way only, we can find Hanslick's genuine purpose. The subject of this thesis is limited to some principal problems, such as 'Form and Matter', 'Affection', 'The Beauty' and 'Originality'. More researchs about other problems are expected.
※ AI-Helper는 부적절한 답변을 할 수 있습니다.