...Lee Rothfarb German-speaking aestheticians of the nineteenth century followed various paths of inquiry stimulated by Kant’s Critique of Judgment . One path leads in a formalist direction, through Johann Friedrich Herbart and Robert Zimmermann; the other leads in an empathist direction, from Johann...

..., which is in turn motivated by his Hanslickian musical absolutism. What emerges from this triangulation of commitments is that Schenker's interpretive practice accords with the scientific precepts Kant's philosophy of biology attempts to establish. This result casts new light on the purport of Schenker's...

...? Untimely Reflections on a Timely Musicological Question .” In Comparative Musicology and Anthropology of Music , edited by Nettl Bruno and Bohlman Philip V. , 187 – 200 . Chicago : University of Chicago Press . Sandford Stella . 2018 . “ Kant, Race, and Natural History...

... follows Kant in arguing that cognition brings its own forms to its objects. For Adorno, we do not know things immediately; rather, we know them through the mediation of our forms of cognition. But in these forms, in the structure the mind brings to its objects...

... . Carpenter Patricia . 1984 . “ Musical Form and Musical Idea: Reflections on a Theme of Schoenberg, Hanslick, and Kant .” In Music and Civilization: Essays in Honor of Paul Henry Lang , edited by Strainchamps Edmond Maniates Maria Rika Hatch Christopher , 394 – 427 . New York : Norton...

...; orig. 1967) by excavating “his- torical starting points,” Scruton weaves the requisite historical engage- ment (with Kant, Hanslick, Langer, Adorno, Kivy, Goodman, Budd, and Raffman, among others) into his text in piece-meal fashion, privileging the synchronic logic of thought over its diachronic...

... is the breadth of material it surveys. As a product of the intellectual maelstrom of fin de siècle Vienna, Schoenberg’s thought on the musical idea bears the mark of a wide range of philosophical predecessors: Goethe, Kant, Hegel, Schopenhauer, Hanslick, Emanuel...

... Smith 2003, Grosz modern art is associated not only with innovation but also 2008, Buchanan and Swiboda 2004, and, most recently, with permanence and mastery. Following an examination the special issue of Perspectives of New Music (vol. 46, no. of Kant’s understanding of the beautiful...

... as art in terms of sincerity and trust; he employs for this purpose a gloss on Kant’s thesis of purposiveness without purpose (see Cavell 1969a, 181–82 [§I8 In speaking of the aesthetics of the classics in terms of ethical models, Cavell appears to be referring to the humanist study...

... about it come to light?” (50).10 To answer it, Swinkin draws on philosophical ideas from Goethe, Kant, and Freud. The brief discussion of Goethe recounts familiar notions of organi- cism, drawing parallels between Goethe’s Urpflanze and Schenker’s Ursatz, both of which are conceived in terms...

... . Michaelis Christian Friedrich . 1795 . Über der Geist der Tonkunst mit Rücksicht auf Kants Kritik der ästhetischen Urtheilskraft . Leipzig : Schäfersiche Buchhandlung . Miyake Jan . 1999 . “ Readdressing Haydn’s Formal Models .” Theory and Practice 34 ( 2009 ): 31 – 46 . Momigny...

... in the process of try- ing to utter itself” in opposition to the imprisoning conventions estab- lished by what Freud called the “family romance” of all predecessors.4 More closely than those of other philosophers, Kant’s thoughts seem to parallel those of the relevant poets and critics on this point...

... Korsyn, “Schenker and Kant- ian Epistemology,” Theoria 3 (1988): 1–58; Kevin Korsyn, “Schenker’s Organi- cism Reexamined,” Integral 7 (1993): 82–188; Michael Cherlin, “Hauptmann and Schenker: Two Adaptations of Hegelian Dialectics,” Theory and Practice 13 (1988): 115–131; Robert...

...” Cavell first explores what it means to experience art, before explaining why modern art is qualitatively different from anything preceding it. His defini- tion invokes Kant and puts the question of value up front. For Cavell, art by definition demands formal...

... a suitably boring academic topic. (My thesis adviser help- fully suggested “The Sublime and the Beautiful in Kant’s Critique of Judg- ment So having managed to get kicked out of graduate school, I found myself looking for a new career. Meta-clinamen As I work my way through these neglected ideas...

... of a spotless, uncorrupted originary state. For Kant, birdsong represented beauty outside the realm of art and beyond our comprehension, while composers from Beethoven and Wag- ner to Mahler, Messiaen, and Stravinsky used birdsong to represent the voice of nature. While Stravinsky and many other...

... . '' Musical Form and Musical Idea: Reflections on a Theme of Schoenberg, Hanslick, and Kant. '' In Music and Civilization: Essays in Honor of Paul Henry Lang , ed. Strainchamps Edmond Maniates Maria Rika Hatch Christopher , 394 – 427 . New York : Norton . ———. 1998 . '' Schoenberg's...

.... If categories in music analysis are to be analytic in a music theorist’s (rather than Kant’s) sense,9 they must rep- resent aspects of musical experience—they must incorporate, or at least not violate, general principles of human cognition.10 Furthermore, music analysts’ thinking about categories should...

... tone is more related to some tones than to others—lies beyond the purview of self-present thought while remaining law-like, following an aesthetic-theoretical tradition at least as old as Kant. Just as Hanslick denied the immediate accessibility of tonal Wahl...

... willkürlicher Konstruktion und Konvention sind) (vi). Yet Riemann's reaction, rather than respecting the counterexample, is to double down on his own convictions. He reiterates that musical hearing operates with fixed conceptual categories—that it judges musical events according to the categories (Kant...