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- W2607495114 abstract "In Absolute Music: The History of an Idea, Mark Evan Bonds presents a magisterial history of absolute music—a term Richard Wagner first coined in 1846, and yet which Bonds believes existed as an ‘idea’ going all the way back to Ancient Greece. Drawing primarily on the work of new musicologists in the United States in the 1980s as his point of departure, Bonds defines absolute music as a ‘regulative concept’ that allows him to discuss the ‘relationship between music’s perceived essence and its effect’ (Bonds, 6).1 The ‘essence-effect’ binarism provides a unique angle for his history, yet also locks his discussion (against his better wishes) into a conceptual framework that leads to either/or conclusions about absolute music’s moral, social, and aesthetic value. Bonds develops his main arguments about absolute music around the tradition of the aesthetics of music in itself that Eduard Hanslick famously established in his text Vom Musikalisch-Schönen from 1854.2 In some US scholarship influenced by the new musicology, and in Bonds’ interpretation, this text stands for ‘musical formalism’, and for a ‘mind-body’ split that caused music to be separated from its sensational effects and the body.3 Yet such a reduction of Hanslick’s aesthetics prevents a cogent critique of how they may be implicated in imperial, patriarchal, and white supremacist structures of inequality. By briefly comparing Bonds’ and Carl Dahlhaus’ readings of Hanslick’s Vom Musikalisch-Schönen, I hope to clarify this point in this review.4" @default.
- W2607495114 created "2017-04-28" @default.
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- W2607495114 date "2017-01-01" @default.
- W2607495114 modified "2023-09-27" @default.
- W2607495114 title "Absolute Music as Ontology or Experience" @default.
- W2607495114 doi "https://doi.org/10.1093/aesthj/ayw075" @default.
- W2607495114 hasPublicationYear "2017" @default.
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