Abstract
Marx wrote the essay “Form in music” for a three-volume collection of essays purporting to present the latest findings of the natural and human sciences to an educated public. Contributors included scholars, artists, and various specialists; the entire collection was assembled and edited by Julius Andreas Romberg, whose own specialty was the history of architecture. Marx's essay was a rare opportunity to discuss musical form outside the context of his compositional method. The result is a presentation of his doctrine of musical form in which he gives full range to the kind of philosophical overtones that he can only suggest within the limits of his treatise. Here is Marx at his most blatantly Idealist: musical form is described in consuming detail as artistic reason coming to know itself through sensuous concretion.
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