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The idea of Kunstreligion in German ...

Kramer, Elizabeth A.

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The idea of Kunstreligion in German musical aesthetics of the early nineteenth century (Wolfgang Amadeus Mozart, Austria, Ludwig van Beethoven).

Record Type:	Electronic resources : Monograph/item
Title/Author:	The idea of Kunstreligion in German musical aesthetics of the early nineteenth century (Wolfgang Amadeus Mozart, Austria, Ludwig van Beethoven)./
Author:	Kramer, Elizabeth A.
Description:	310 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 0813.
Contained By:	Dissertation Abstracts International66-03A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3170474
ISBN:	9780542067112

The idea of Kunstreligion in German musical aesthetics of the early nineteenth century (Wolfgang Amadeus Mozart, Austria, Ludwig van Beethoven).
Kramer, Elizabeth A.

The idea of Kunstreligion in German musical aesthetics of the early nineteenth century (Wolfgang Amadeus Mozart, Austria, Ludwig van Beethoven). - 310 p.

Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 0813.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2005.

In the simplest formulation, musical Kunstreligion---"art religion"---is the belief that music is divine. This aesthetic idea emerged in German-speaking lands around 1800. In music, it manifested itself as a matrix of convictions about listening, the concert, the composer, and musical works. While twentieth-century writers have cited Kunstreligion in relation to instrumental music, early nineteenth-century formulations of the concept concerned a wider range of musical experiences. A more balanced approach to the elements of music and spirituality in Kunstreligion will lead to a fuller understanding of the concept and its significance in musical aesthetics.

ISBN: 9780542067112Subjects--Topical Terms:

516178
Music.

The idea of Kunstreligion in German musical aesthetics of the early nineteenth century (Wolfgang Amadeus Mozart, Austria, Ludwig van Beethoven).
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100 1 $a Kramer, Elizabeth A. $3 1916381
245 1 4 $a The idea of Kunstreligion in German musical aesthetics of the early nineteenth century (Wolfgang Amadeus Mozart, Austria, Ludwig van Beethoven).
300 $a 310 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-03, Section: A, page: 0813.
500 $a Adviser: Mark Evan Bonds.
502 $a Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2005.
520 $a In the simplest formulation, musical Kunstreligion---"art religion"---is the belief that music is divine. This aesthetic idea emerged in German-speaking lands around 1800. In music, it manifested itself as a matrix of convictions about listening, the concert, the composer, and musical works. While twentieth-century writers have cited Kunstreligion in relation to instrumental music, early nineteenth-century formulations of the concept concerned a wider range of musical experiences. A more balanced approach to the elements of music and spirituality in Kunstreligion will lead to a fuller understanding of the concept and its significance in musical aesthetics.
520 $a After discussing the nature of early nineteenth-century Kunstreligion as an aesthetic idea, I outline developments in philosophy and theology out of which Kunstreligion emerged ("Toward a Definition of Kunstreligion" and "Concepts in Context"). Contemporary writers thought of the relationship between music and spirituality in three primary ways: music as giving voice to spiritual ideas; musical experience and spiritual experience as similar; and music as perceived as its own particular type of spirituality. Each of the three perspectives exists independently and in combination with the others, and the most compelling examples of Kunstreligion fall in areas where all three spheres intersect.
520 $a Chapters two through six consider implications of Kunstreligion for musical aesthetics of the early nineteenth century. Chapter two ("The Rise of Contemplative Listening") shows how spiritual ideas of contemplation shaped accounts of musical listening. Chapter three ("Sacred Time and Sacred Space: The Concert as Gottesdienst ") follows early nineteenth-century discussions of the Gottesdienst and their influence on contemporary descriptions of concert life. Chapter four ("The Composer as Prophet, Priest, and Transfigured Deity") places early nineteenth-century depictions of composers as exercising divine capabilites in a wider historical context. Chapter five ("Transforming Church Music: Kunstreligion and the 'New Religious Music'") traces ways in which Kunstreligion shaped and was shaped by the reception of church music such as Mozart's Requiem. The final chapter ("Kunstreligion in the Reception of Beethoven's Works") argues that Kunstreligion was reflected in an emphasis on the union of the sacralized composer and the sacralized work in Beethoven reception of the 1810s and 1820s.
590 $a School code: 0153.
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650 4 $a Religion, Philosophy of. $3 1017774
650 4 $a Literature, Germanic. $3 1019072
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710 2 0 $a The University of North Carolina at Chapel Hill. $3 1017449
773 0 $t Dissertation Abstracts International $g 66-03A.
790 1 0 $a Bonds, Mark Evan, $e advisor
790 $a 0153
791 $a Ph.D.
792 $a 2005
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3170474