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Relevant bibliographies by topics / Allgemeine Theorie der schönen Künste (Sulzer, Johann Georg)

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Academic literature on the topic 'Allgemeine Theorie der schönen Künste (Sulzer, Johann Georg)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Allgemeine Theorie der schönen Künste (Sulzer, Johann Georg)"

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Riley, Matthew. "Civilizing the Savage: Johann Georg Sulzer and the ‘Aesthetic Force’ of Music." Journal of the Royal Musical Association 127, no. 1 (2002): 1–22. http://dx.doi.org/10.1093/jrma/127.1.1.

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Johann Georg Sulzer's Allgemeine Theorie der schönen Künste (1771–4) exerted considerable influence on late eighteenth-century German musical writers. But for many modern commentators, it typifies the negative attitude to instrumental music characteristic of much Enlightenment rationalism. A reassessment of Sulzer, taking account of his philosophical background in Leibniz, Wolff and Baumgarten, shows that in fact he considered music the first of the fine arts. The arts have an ethical, civilizing role; but while most can affect only people who are already partly civilized, music possesses a special ‘aesthetic force’ which energizes the minds of cognitively passive people or ‘savages’.

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van der Zande, Johan. "Orpheus in Berlin: A Reappraisal of Johann Georg Sulzer's Theory of the Polite Arts." Central European History 28, no. 2 (June 1995): 175–208. http://dx.doi.org/10.1017/s000893890001164x.

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In 1771 Johann Georg Sulzer, a well-established member of the Prussian Academy of Sciences and Belles-Lettres, published the first volume of his long awaited lexicon A General Theory of the Polite Arts (Allgemeine Theorie der schönen Künste). Although the work sold well, not many critics were convinced of its major tenet that the production and enjoyment of works of art should serve to promote the civic awareness of the citizenry of the modern state. And while Sulzer's influence on the aesthetic theories of Kant and Schiller is generally recognized and he consequently has kept a relatively high profile in histories of aesthetics, his lexicon did not survive the century in which it was written.

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MCAULEY, TOMAS. "Rhythmic Accent and the Absolute: Sulzer, Schelling and theAkzenttheorie." Eighteenth Century Music 10, no. 2 (August 1, 2013): 277–86. http://dx.doi.org/10.1017/s1478570613000079.

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ABSTRACT1770s Berlin saw the birth of a new theory of rhythm, first stated in Johann Georg Sulzer'sAllgemeine Theorie der schönen Künste(1771–1774), and later labelled theAkzenttheorie(theory of accents). Whereas previous eighteenth-century theories had seen rhythm as built up from the combination of distinct units, theAkzenttheoriesaw it as formed from the breaking down of a continual flow, achieved through the placing of accents on particular notes. In hisPhilosophie der Kunst(1802–1803) the philosopher Friedrich Schelling used Sulzer's definition of rhythm to suggest, astonishingly, that music can facilitate knowledge of the absolute, a philosophical concept denoting the ultimate ground of all reality. In this article I show how Schelling could come to interpret theAkzenttheoriein such extravagant terms by examining three theories of time and their relationships to rhythm: that of Sulzer and his predecessor Isaac Newton, that of Immanuel Kant and that of Schelling. I conclude by arguing that in Schelling's case – an important one, since his is the earliest systematic presentation of a view of music that came to predominate in the decades after 1800 – his view of music was driven neither by developments in contemporary music nor by changes in the philosophy of art as a discrete intellectual enterprise, but by revolutions in philosophy by and large unconcerned even with art in general.

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Boyle, Matthew L. "Johann Georg Sulzer’s “Recitativ” and North German Musical Aesthetics." Music Theory Online 23, no. 2 (June 2017). http://dx.doi.org/10.30535/mto.23.2.1.

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Johann Georg Sulzer’s “Recitativ” is a uniquely ambitious article in hisAllgemeine Theorie der schönen Künste. The longest music article in his encyclopedia and accompanied with over 100 musical examples, it describes the technical features and expressive functions of the genre of recitative through 15 rules. It also documents a regional dispute between Berlin and Hamburg over the composition of recitative. Georg Philipp Telemann and Johann Adolf Scheibe, composers associated with Hamburg, are chastised in “Recitativ” for their willingness to abandon Italianate formulas and adopt French or newly invented techniques. In contrast, the Berliner Carl Heinrich Graun is celebrated, with passages of his recitative used as stylistic exemplars. In the years before the publication of “Recitativ,” a diverse group of musicians in Berlin beginning with Graun expressed distaste for French-influenced recitative, including even the Francophile Friedrich Wilhelm Marpurg. The article is the product of collaboration between several Berliner authors who express their city’s Italianate taste in recitative, including Sulzer, Johann Abraham Peter Schulz, Johann Kirnberger, and Johann Friedrich Agricola. New evidence suggests that Agricola’s influence on the article is greater than previously acknowledged. Sulzer’s text is presented in a side-by-side translation that includes his 39 numbered musical examples, with added bibliographic commentary and translations of poetic texts (also downloadable as an Appendix).

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Book chapters on the topic "Allgemeine Theorie der schönen Künste (Sulzer, Johann Georg)"

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Kirillina, Larissa. "Johann Georg Sulzers „Allgemeine Theorie der Schönen Künste" und Ludwig van Beethovens ästhetische Anschauungen." In Aufklärung in Europa, 687–94. Köln: Böhlau Verlag, 1999. http://dx.doi.org/10.7788/boehlau.9783412330941.687.

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"Im Zeichen der Ästhetik. Der lyrische Gattungsdiskurs in Sulzers Allgemeiner Theorie der Schönen Künste (1771/74)." In Johann Georg Sulzer - Aufklärung im Umbruch, 178–209. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110596557-010.

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Mirka, Danuta. "Hypermeter." In Hypermetric Manipulations in Haydn and Mozart, 1–56. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548905.003.0001.

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This chapter unearths a number of cues that point to eighteenth-century recognition of what today is called hypermeter and retraces the line of tradition that led from eighteenth-century music theory to the emergence of the modern concept of hypermeter in the twentieth century. It departs from the eighteenth-century concept of compound meter, related to hypermeter by some modern authors, and from the analogy between measures and phrases posited by Johann Philipp Kirnberger and Johann Abraham Peter Schulz in Johann Georg Sulzer’s Allgemeine Theorie der schönen Künste (1771–74). While compound meter proves irrelevant for the development of hypermeter, the analogy between measures and phrases, adopted by Gottfried Weber in his Versuch einer geordneten Theorie der Tonsetzkunst (1817) and further refined by German music theorists, provides the point of departure for the development of the concept of hypermeter in American music theory. The further course of the chapter traces more recent history of this concept. It evaluates the contribution of Schenkerian theory and the cognitive study of music, and it introduces a dynamic model of hypermeter as an extension of the dynamic model of meter presented by the author in Metric Manipulations in Haydn and Mozart (2009).

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"„Man hat noch kein System von der Theorie der Musik“. Die Bedeutung von Johann George Sulzers „Allgemeiner Theorie der Schönen Künste“ für die Musikästhetik des ausgehenden 18. Jahrhunderts." In Schweizer im Berlin des 18. Jahrhunderts, 341–54. Akademie Verlag, 1996. http://dx.doi.org/10.1515/9783050072296-021.

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