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The Imaginary Museum of Musical WorksAn Essay in the Philosophy of Music$
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Lydia Goehr

Print publication date: 1994

Print ISBN-13: 9780198235415

Published to Oxford Scholarship Online: November 2003

DOI: 10.1093/0198235410.001.0001

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Musical Meaning: Romantic Transcendence and the Separability Principle

Musical Meaning: Romantic Transcendence and the Separability Principle

Chapter:
(p.148) 6 Musical Meaning: Romantic Transcendence and the Separability Principle
Source:
The Imaginary Museum of Musical Works
Author(s):

Lydia Goehr (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/0198235410.003.0007

Investigates how the emancipation of music from the extra‐musical involved first an inclusion of music under the recently emerged concept of ‘the fine arts’ (the Kristeller thesis). The emancipation of instrumental music and fine art both depended on the separability principle. The romanticization of fine art re‐evaluated the conditions previously associated with productive art, imbuing them with aesthetic value: creativity, product, artefactuality, and perseverance. As music began to be understood as one of the fine arts, it began to articulate its need for artefacts comparable to the other works of fine art. In music, the romantic aesthetic, broadly conceived, involved both a transcendent move and a formalist one. Both moves served more thoroughly to separate musical meaning from seemingly worldly affairs by merging form and content and eliminating mimesis as a goal of music.

Keywords:   content, form, formalism, formalist move, romanticism, separability principle, transcendence

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