By J. Kennaway
The connection among track and the fearful approach is now the topic of extreme curiosity for scientists and other people within the humanities, yet this is often on no account a brand new phenomenon. This quantity units out the historical past of the connection among neurology and song, placing the advances of our period into context.
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Extra info for Music and the Nerves, 1700–1900
Sacks, Musicophilia. Carl Dahlhaus, The Idea of Absolute Music (Chicago: University of Chicago Press, 1989), Nineteenth-Century Music (Berkeley and London: University of California Press, 1989), Eduard Hanslick, Vom Musikalisch-Schönen (Leipzig: Weigl, 1854). Walter Pater, The Renaissance. Studies in Art and Poetry, Adam Philips, ed. (Oxford: Oxford University Press, 1986). See also Patricia Hertzog, ‘The Condition to Which All Art Aspires: Walter Pater on Music’, British Journal of Aesthetics 36 (2 April 1996), 122–134.
If they did, which pictures? And what are the mechanisms of the emplotment? After all, listeners were not coping with immense technical demands to reproduce the composer’s scores but idly sitting and responding to it. Framed this way, by distinguishing between performers and listeners, Mossbacher’s question appeared far too simplistic, even to an adolescent; focused on performers to the exclusion of listeners, or vice versa, and omitting other dimensions as well, such as the huge differences between diverse groups of performers and listeners from widely different cultural backgrounds, West and East.
Historians of aesthetics have studied these controversies and there is no reason to retrace their steps here except to identify some of the major positions. ’ Schlegel extended Rameau’s case by seeming to devalue melody to the detriment of rhythm and harmony, and further contributing the idea that form is ‘spirit’ in music. e. symphonies, concertos, sonatas) do not embody the mere shell of a representation or set of affections, but are innately God-given and demonstrate the composer-maker’s genius.