Abstract
Preface Introduction PART I: I. Mattheson as philosopher of art II. Mainwaring's Handel: its relation to English aesthetics III. Charles Burney, music critic IV. Kant and the Affektenlehre: what he said, and what I wish he had said V. Mozart and monotheism: an essay in spurious aesthetics VI. Child Mozart as an aesthetic symbol VII. Something I've always 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. Orchestrating platonism XV. Opera talk: a philosophical 'phantasie' XVI. How did Mozart do it?: living conditions in the world of opera XVII. How did Mozart do it?: Replies to my critics XVIII. Live performances and dead composers: on the 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 music an art?
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