内容

目次

Preface; Introduction; PART I: I. Mattheson as philosopher of art; II.Mainwaring's Handel: its relation to English aesthetics; III. CharlesBurney, music critic; IV. Kant and the Affektenlehre: what he said, and whatI wish he had said; V. Mozart and monotheism: an essay in spuriousaesthetics; VI. Child Mozart as an aesthetic symbol; VII. Something I'vealways wanted to know about Hanslick; VIII. What was Hanslick denying?; IX.Charles Darwin on music; X. Herbert Spencer and a musical dispute; PART II:XI. The fine art of repetition; XII. Platonism in music: a kind of defense;XIII. Platonism in music: another kind of defense; XIV. Orchestratingplatonism; XV. Opera talk: a philosophical 'phantasie'; XVI. How did Mozartdo it?: living conditions in the world of opera; XVII. How did Mozart doit?: Replies to my critics; XVIII. Live performances and dead composers: onthe ethics of musical interpretation; XIX. On the concept of the'historically authentic' performance; XX. Paul Robinson's Opera and Ideas;XXI. From ideology to music: Leonard Meyer's theory of style change; XXII.Music and liberal education; XXIII. A new music criticism?; XXIV. Is musican art?