Aesthetics and the Art of Musical Composition in the German by Heinrich Christoph Koch, Johann Georg Sulzer

By Heinrich Christoph Koch, Johann Georg Sulzer

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Extra info for Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch

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All articles are translated from the second edition of Sulzer s Allgemeine Theorie der Schonen Kunste, ed. Johann Gottfried Dyck and Georg Schaz, 4 vols. (Leipzig, 1792). Although the text of the articles in this edition is identical to those found in the first edition brought out by Sulzer, I cite the second 40 A few additional articles not included here are translated in a companion volume to this series which may serve as a supplement to the present translation. (Music and Aesthetics in the Eighteenth and Early Nineteenth Centuries, ed.

3 above. [C] 36 Johann Georg Sulzer justified in so far as the works are used for study of art. {627} But if the issue is the capacity of a work effectively reaching the general goal of art, an imitation can well have far more worth than an original. This must always be kept in mind in the evaluation of originality, where sometimes the most original work will not always be the most preferred. 7 It could well be that some writers could be simple imitators of the Phrygian author and produce fables far exceeding in value those of the French author.

Such heightened effects reveal themselves either in the craving or imaginative forces of the soul, both with equal success; in the one through devotional, mannered, tender, or cheerful rapture; in the other Aesthetic foundations: inspiration 33 through a heightened ability of genius, through the richness, thoroughness, solidity and luster of one's ideas and thoughts. Thus enthusiasm is a double art: one part works primarily upon the senses, the other upon the imagination. Both have their origins in the vivid impression made upon the soul by some object of particular aesthetic force.

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