한슬리크와 19세기 후반 독일 음악계

Abstract

Hanslick's various works and aesthetic positions in music criticism and musicological research were controversial throughout the 19th century. Was he an emotional aestheticist, a formal aestheticist, a critic, or a historian? The purpose of this paper is not to provide a definitive answer to these questions, but rather to discuss the background of these dichotomies in the context of the academic, philosophical, and social situation of the German music scene in the late 19th century. In the late 19th century, Hanslick dismantled the dichotomy of “aesthete versus scholar” that was deeply rooted in the German musicological community of his time and sought to creatively fuse the roles of critic and historian, moving freely between the two extremes. Therefore, in studying Hanslick, it is necessary to move away from dichotomies such as emotional aesthetics and formal aesthetics, subjective criticism and objective science, and to shed new light on him.