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"Lee Rothfarb, Lee"
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Early History
Since e-text is so easily modified, how stable would the content of an article be? Because Internet hosts come and go, how permanent would data storage and bibliographic documentation be? [...]in my last year as editor, I implemented a RealAudio server (Volume 4.1, January 1998) so that we could stream audio content from Boethius instead of providing static audio files.
Journal Article
August Halm
In the early 1900s, August Halm was widely acknowledged to be one of the most insightful and influential authors of his day on a wide range of musical topics. Yet, in the eighty years since his untimely death at age 59 (in 1929),Halm-the author of six wid
eBook
Nineteenth-Century Fortunes of Musical Formalism
German-speaking aestheticians of the nineteenth century followed various paths of inquiry stimulated by Kant’s
. One path leads in a formalist direction, through Johann Friedrich Herbart and Robert Zimmermann; the other leads in an empathist direction, from Johann Gottfried Herder’s rejection of Kant through Hegel, Friedrich Theodor and Robert Vischer, Karl Köstlin, and Johannes Volkelt. Eduard Hanslick, in arriving at his own destination, travels some distance on both paths, collecting along the way, on the one hand, Kant’s rigorous focus on the phenomenon and purposive form, eschewing “charms and emotions”; and on the other hand, Hegel’s focus on art’s spirituality, its “ideal content,” in characterizing the specifically musical, which for Hanslick embodies a “full share of ideality.” Clustered ideologically around Kant, Hegel, and Hanslick in closer or more distant orbit are the aforementioned authors whose writings chronicle the fortunes of formalism in the 1800s.
Journal Article
August Halm on Body and Spirit in Music
This article explores and explains August Halm's and Heinrich Schenker's differing opinions of Brahms and Bruckner based on Halm's notions of corporeality and spirituality, body and soul, in music, and on differences in symphonic style between the two composers. Corporeality manifests itself in thematic gestures whose contours trace distinctive shapes in music's imaginary space, resulting in the impression of depth, something metaphorically tangible. When the dynamic course of a passage is clearly manifest in the aural immediacy of its rhythmic and thematic gestures, Halm acknowledges its corporeality (Korperlichkeit). When a work's dynamic course is concealed or musically too subtle to be readily perceived, it exemplifies a different quality, spirituality (Geistigkeit), which resides in between the notes and occurs, so to speak, subterraneously. Schenker's Urlinie was thus for Halm a case of unnecessarily \"spiritualizing the spiritual yet again.\"Halm's advocacy for Bruckner's symphonies as marking the beginning of \"a new era and culture\" was incomprehensible for Schenker, who conceded to Bruckner only a \"very modest power of invention.\" SchenkerÕs unqualified enthusiasm for Brahms, on the other hand, the \"last master of German composition,\" gave Halm a \"painful jolt.\" For Halm, Bruckner is a \"cosmic epicist,\" for Schenker \"too much a foreground composer.\" Letters between Schenker and Halm as well as other, hitherto unknown archival materials among Halm's estate papers delineate Halm's views in contrast to those of Schenker.
Journal Article