The Idea of Absolute Music
With a characteristically broad and provocative treatment, Dahlhaus examines a single music-aesthetical idea from various historical and philosophical viewpoints.
"Essential reading for anyone interested in the larger intellectual framework in which Romantic music found its place, a framework that to a remarkable degree has continued to shape our image of music."—Robert P. Morgan, Yale University
Carl Dahlhaus (1928-1989) is the author of a highly influential body of works on the foundations of music history and aesthetics.
Absolute Music as an Esthetic Paradigm
The History of the Term and Its Vicissitudes
A Hermeneutic Model
The Esthetics of Feeling and Metaphysics
Esthetic Contemplation as Devotion
Instrumental Music and ArtReligion
Musical Logic and Speech Character
absolute music affections ancient appears art religion Bach and Beethoven beautiful Beethoven Bruckner character Christian concept of musical contrast dialectic E. T. A. Hoffmann Eduard Hanslick eighteenth century Empfindsamkeit Ernst Kurth essay essence Fantasies on Art Forkel formulation Friedrich Friedrich Schlegel fugue Gesammelte Schriften Hanslick harmony Hegel Herder hermeneutics historical Ibid idea of absolute inner instrumental music Johann language Leipzig manifestation means melody metaphysics metaphysics of instrumental modern music drama musical art musical expression musical form musical logic Musik nature of music Nietzsche nineteenth century Novalis opera perceived philosophy poetry polemical polyphony program music quartet religious represented Richard Wagner romantic metaphysics romantic music romantic music esthetics Rousseau Schlegel Schopenhauer Schopenhauer's seconda prattica sense sentiment sonata soul sound speak specific speech spirit sublime substance symphony term absolute music theory of instrumental thesis things thought Tieck tones true vocal music vocal polyphony Wackenroder Wackenroder's Wagner Werke und Briefe words