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Music's status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-nineteenth century, Friedrich Theodor Vischer and other Hegelian aestheticians kept insisting on art's conceptual clarity, but they adapted the aesthetic system on which this requirement had been based. Their adaptations turned out to be decisive for the development of music criticism, to such an extent that music critics used them to point out musical content and to confirm music' s autonomy as an art form. This book unravels the network of music critics and philosophers, including not only Hegel but also Franz Liszt, Franz Brendel, and Eduard Hanslick, whose works shaped public opinions of music.

Art and music --- Art et musique --- Critiques musicales --- Kunst en muziek --- Music and art --- Music critics --- Music in art --- Musique dans l'art --- Musique et art --- Muziek en kunst --- Muziek in de kunst --- Muziekcritici --- Music --- Musical criticism --- Musique --- Critique musicale --- History and criticism --- History --- Histoire et critique --- Histoire --- Vischer, Friedrich Theodor, --- Aesthetics --- music [performing arts] --- philosophy of art --- Vischer, von, Friedrich T. --- anno 1800-1899 --- Germany --- music [performing arts genre]