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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."--Publisher's description.

Music --- Philosophy and aesthetics. --- History and criticism. --- Vischer, Friedrich Theodor, --- Criticism --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy --- Vischer, F. Th. --- Von Vischer, Friedrich Theodor, --- Vischer, Friedrich Theodor von, --- D. M. --- Deutschland --- Deutsche Länder --- Germany --- Heiliges Römisches Reich --- Rheinbund --- Deutscher Bund --- Norddeutscher Bund --- Deutsches Reich --- BRD --- Federal Republic of Germany --- Republic of Germany --- Allemagne --- Ǧumhūrīyat Almāniyā al-Ittiḥādīya --- Bundesrepublik Deutschland --- Niemcy --- République Fédérale d'Allemagne --- Repubblica Federale di Germania --- Germanija --- Federativnaja Respublika Germanija --- FRG --- Deyizhi-Lianbang-Gongheguo --- Deutsche --- Deutsches Sprachgebiet --- 03.10.1990 --- -Music

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"Maskanda, the Zulu pronunciation of the Afrikaans word musikant (musician), emerged in the early 20th century as a response to the experience of forced labour migration. Hundreds of thousands of people were coerced to change their rural existence for work in cities and mines, but since black people were not allowed to settle in urban areas, they moved back and forth between their villages and the towns. Through its focus on maskanda, this book provides insight into how people understand the world and themselves through aural experience and sensitivity. This focus constitutes the book's main question: how do all those involved in maskanda (performers, audiences, producers, organizers, politicians, and researchers) foreground their aural experiences? In what ways do we musically and performatively adapt and appropriate sounding and stage material that we encounter in our lives and careers? What words do we use to describe what we hear? The book examines how we use our voices, bodies and musical instruments to signify, evoke, invoke, present, produce, interpret and comment on the world in which we live"--

Maskanda --- Popular music --- Zulu (African people) --- History and criticism --- Music --- Social aspects