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27 changes: 16 additions & 11 deletions 102_derived_tei/102_06_paratexts/bedeutung-hanslick-engl.xml
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regarded the motivic-thematic work of Brahms and Beethoven as the ideal of
music and considered Wagner’s “infinite melody”—which he in later editions
labelled as “formlessness elevated to a principle” and a “sung and fiddled
opium high” (<emph>Eduard Hanslick’s ‘On the Musically Beautiful’: A New
opium high” (<ref
target="diff_V2.6.html?lang=de"
>editions 4–10, V2.6</ref>; <emph>Eduard Hanslick’s ‘On the Musically Beautiful’: A New
Translation</emph>, trans. by Lee Rothfarb and Christoph Landerer, Oxford:
Oxford University Press, 2018, lxxxi)—an aberration, he could also warm to more
modern composers like Antonin Dvořák, Edvard Grieg, and Bedřich Smetana. His
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emotion—continue to be relevant to contemporary discourse. Historically
speaking, particular importance was attributed to Hanslick’s much-cited
rejection of the “rotten aesthetics of feeling”—a phrase found only in the
preface to the first edition (<ref target="https://archive.org/details/VomMusikalischSchnen1tea1854/page/n1/mode/2up">p. v</ref>)—which, like the analogy between the content of music and the
preface to the first edition (<ref
target="diff_V1.4.html?lang=en">V1.4</ref>)—which, like the analogy between the content of music and the
moving arabesque, and the notorious catchphrase that “the content of music is
<emph>sonically moved forms</emph>” (Rothfarb and Landerer, <emph>On the
<emph>sonically moved forms</emph>” (<ref
target="diff_3.6.html?lang=de"
>editions 4–10, 3.6</ref>; Rothfarb and Landerer, <emph>On the
Musically Beautiful</emph>, 41), shape Hanslick's reception to the present
day. Here, too, the radiance of Hanslick’s treatise, which its translator
Geoffrey Payzant, for example, deemed the “founding document of musical
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<list type="bibl">
<item>“Ueber den subjektiven Eindruck der Musik und seine Stellung in der
Aesthetik,” <emph>Oesterreichische Blätter für Literatur und Kunst</emph>
<ref target="https://books.google.de/books?id=-cFLAAAAcAAJ&amp;hl=de&amp;pg=PA177#v=onepage&amp;q&amp;f=false">30 (1853), 177–178;</ref>
<ref target="https://books.google.de/books?id=-cFLAAAAcAAJ&amp;hl=de&amp;pg=PA181#v=onepage&amp;q&amp;f=false">31 (1853), 181–182</ref>; <ref target="https://books.google.de/books?id=-cFLAAAAcAAJ&amp;hl=de&amp;pg=PA193#v=onepage&amp;q&amp;f=false">33 (1853), 193–195</ref>.</item>
<ref target="https://books.google.de/books?id=-cFLAAAAcAAJ&amp;hl=de&amp;pg=PA177#v=onepage&amp;q&amp;f=false">30 (1853): 177–178;</ref>
<ref target="https://books.google.de/books?id=-cFLAAAAcAAJ&amp;hl=de&amp;pg=PA181#v=onepage&amp;q&amp;f=false">31 (1853): 181–182</ref>; <ref target="https://books.google.de/books?id=-cFLAAAAcAAJ&amp;hl=de&amp;pg=PA193#v=onepage&amp;q&amp;f=false">33 (1853): 193–195</ref>.</item>
<item><ref target="https://books.google.de/books?id=kMlLAAAAcAAJ&amp;hl=de&amp;pg=PA78#v=onepage&amp;q&amp;f=false">“Die Tonkunst in ihren Beziehungen zur
Natur,”</ref> <emph>Oesterreichische Blätter für Literatur und
Kunst</emph> 11 (1854), 78–80.</item>
Kunst</emph> 11 (1854): 78–80.</item>
<item><emph><ref target="https://archive.org/details/VomMusikalischSchnen1tea1854/mode/2up">Vom Musikalisch-Schönen: Ein Beitrag zur Revision der Aesthetik der
Tonkunst</ref></emph>, Leipzig: Rudolph Weigel, 1854. Further
editions: <list>
<item><ref target="https://www.digitale-sammlungen.de/de/view/bsb10598668?page=6,7">2nd edition</ref>, Leipzig: Rudolph Weigel, 1858.</item>
<item><ref target="https://www.digitale-sammlungen.de/de/view/bsb10598670?page=6,7">3rd edition</ref>, Leipzig: Rudolph Weigel, 1865.</item>
<item><ref target="https://books.google.co.uk/books?id=x6y6ZcYzYpsC&amp;dq=eduard%20hanslick%20vom%20musikalisch-sch%C3%B6nen%201874&amp;hl=de&amp;pg=PP5#v=onepage&amp;q&amp;f=false">4th edition</ref>, Leipzig: Johann Ambrosius Barth, 1874.</item>
<item><ref target="https://books.google.co.uk/books?id=xP0I3i3ALK4C&amp;dq=eduard%20hanslick%20vom%20musikalisch-sch%C3%B6nen%201876&amp;hl=de&amp;pg=PR3#v=onepage&amp;q&amp;f=false">5th edition</ref>, Leipzig: Johann Ambrosius Barth, 1876.</item>
<item>6. Auflage, Leipzig: Johann Ambrosius Barth, 1881.</item>
<item>7. Auflage, Leipzig: Johann Ambrosius Barth, 1885.</item>
<item>6th edition, Leipzig: Johann Ambrosius Barth, 1881.</item>
<item>7th edition, Leipzig: Johann Ambrosius Barth, 1885.</item>
<item><ref target="https://archive.org/details/beautifulinmusic1891hans/page/n3/mode/2up">8th edition</ref>, Leipzig: Johann Ambrosius Barth, 1891.</item>
<item><ref target="https://archive.org/details/vommusikalischs00hansgoog/page/n4/mode/2up">9th edition</ref>, Leipzig: Johann Ambrosius Barth, 1896.</item>
<item><ref target="https://archive.org/details/VomMusikalischSchnen10tea1902/mode/2up">10th edition</ref>, Leipzig: Johann Ambrosius Barth, 1902.</item>
</list></item>
<item><emph><ref target="https://www.digitale-sammlungen.de/de/view/bsb10598665?page=4,5">Geschichte des Concertwesens in Wien</ref></emph>, Vienna: Wilhelm
Braumüller, 1869.</item>
<item><emph><ref target="https://www.digitale-sammlungen.de/de/view/bsb11727302?page=,1">Geschichte des Concertwesens in Wien</ref></emph>, vol 2, <emph>Aus
<item><emph><ref target="https://www.digitale-sammlungen.de/de/view/bsb11727302?page=,1">Geschichte des Concertwesens in Wien</ref></emph>, vol. 2, <emph>Aus
dem Concertsaal: Kritiken und Schilderungen aus den letzten 20 Jahren des
Wiener Musiklebens nebst einem Anhang, Musikalische Reisebriefe aus
England, Frankreich und der Schweiz</emph>, Vienna: Wilhelm Braumüller,
1870.</item>
<item><emph><ref target="https://www.digitale-sammlungen.de/de/view/bsb11081548?page=4,5">Die moderne Oper: Kritiken und Studien</ref></emph>, Berlin: A.
Hofmann, 1875.</item>
<item><emph><ref target="https://www.digitale-sammlungen.de/de/view/bsb11727297?page=8,9">Musikalische Stationen: Neue Folge der “Modernen Oper”</ref></emph>,
<item><emph><ref target="https://www.digitale-sammlungen.de/de/view/bsb11727297?page=8,9">Musikalische Stationen: Neue Folge der “Modernen Oper,”</ref></emph>
Berlin: A. Hofmann, 1880.</item>
<item><emph><ref target="https://www.digitale-sammlungen.de/de/view/bsb11556958?page=8,9">Aus dem Opernleben der Gegenwart: Der “Modernen Oper” III. Theil;
Neue Kritiken und Studien</ref></emph>, Berlin: A. Hofmann,
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and Company, 1891.</item>
<item><emph>Vienna’s Golden Years of Music, 1850–1900</emph>, trans. by Henry Pleasants, New York: Simon and Schuster, 1950.</item>
<item><emph>The Beautiful in Music: A Contribution to the Revisal of Musical Aesthetics</emph>, 2nd ed., trans. by Gustav Cohen, ed. by Morris Weitz, Indianapolis: Bobbs-Merrill Publishing, 1957.</item>
<item><emph>Eduard Hanslick: Music Criticisms 1846–1899</emph>, 2nd ed., trans. by Henry Pleasants, London: Penguin Books, 1963.</item>
<item><emph>Eduard Hanslick: Music Criticisms 1846–1899</emph>, trans. by Henry Pleasants, London: Penguin Books, 1963.</item>
<item><emph>On the Musically Beautiful: A Contribution Towards the Revision of the Aesthetics of Music</emph>, trans. by Geoffrey Payzant, Indianapolis: Hackett Publishing, 1986.</item>
<item><emph>Hanslickʼs Music Criticisms</emph>, trans. by Henry Pleasants, New York: Dover Publications, 1988.</item>
<item>“Eduard Hanslick: Brahms’s Newest Instrumental Compositions (1889),” trans. by Susan Gillespie, in <emph>Brahms and His World</emph>, ed. by Walter Frisch, Princeton: Princeton University Press, 1990, 145–150.</item>
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Brahms und Beethoven als Ideal der Musik nahm und Wagners „unendliche Melodie“
– die er in späteren Auflagen seines Traktats als „zum Prinzip erhobene
Formlosigkeit“ und als „gesungenen und gegeigten Opiumrausch“ bezeichnete (<ref
target="https://archive.org/details/VomMusikalischSchnen10tea1902/page/n9/mode/2up"
>S. VIII</ref>) – als
target="diff_V2.6.html?lang=de"
>Auflage 4–10, V2.6</ref>) – als
Irrweg ansah, konnte er sich auch für modernere Komponisten wie Antonin Dvořák,
Edvard Grieg und Bedřich Smetana erwärmen. Seine Reichweite beschränkte sich
hier nicht auf Wien, Österreich und den deutschen Sprachraum, sondern erreichte
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kognitivistischen Emotionskonzept des zwanzigsten Jahrhunderts sehr nahe kommt
– für heutige Diskurse weiterhin relevant sind. Besondere Bedeutung sollte
dabei Hanslicks vielzitierte Ablehnung der „verrotteten Gefühlsästhetik“
zukommen – eine Phrase, die sich nur im Vorwort zur ersten Auflage finden lässt
(<ref
target="https://archive.org/details/VomMusikalischSchnen1tea1854/page/n1/mode/2up"
>S. V</ref>) – die wie die Analogie zwischen dem Inhalt von Musik und der
bewegten Arabeske und dem berühmten Schlagwort, dass „tönend bewegte Formen ...
einzig und allein Inhalt und Gegenstand der Musik“ seien (<ref
target="https://archive.org/details/VomMusikalischSchnen1tea1854/page/n37/mode/2up"
>S. 32</ref>), Hanslicks Rezeption bis zum heutigen Tag gestaltet. Auch hier
zukommen – eine Phrase, die sich nur im Vorwort zur ersten Auflage (<ref
target="diff_V1.4.html?lang=de">V1.4</ref>) finden lässt – die wie die
Analogie zwischen dem Inhalt von Musik und der bewegten Arabeske und dem
berühmten Schlagwort, dass „tönend bewegte Formen ... einzig und allein Inhalt
und Gegenstand der Musik“ seien (<ref
target="diff_3.6.html?lang=de"
>Auflage 1–2, 3.6</ref>), Hanslicks Rezeption bis zum heutigen Tag gestaltet. Auch hier
lässt die Strahlkraft dieser Abhandlung, die etwa auch ihr Übersetzer Geoffrey
Payzant als „founding document of musical aesthetics as we know it“
(<emph>Hanslick on the Musically Beautiful: Sixteen Lectures on the Musical
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<body xml:lang="en-US">
<div type="main">
<head>Editorial Conventions and How to Cite</head>
<byline>Alexander Wilfing und Meike Wilfing-Albrecht</byline>
<byline>Alexander Wilfing and Meike Wilfing-Albrecht</byline>
<div type="sub">
<head>Editorial Conventions</head>
<p>This edition is based on the ten editions of Eduard Hanslick’s treatise <emph>Vom
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from edition 4 onward (1874–1902). Other sources like sketches, setting copies,
proof copies, etc., are not known as of today, since Hanslick’s estate has been
lost during the Second World War. The printed copies thus are the only available
templates for our digital edition. The articles or chapters from which this
templates for our digital edition. The articles or chapters, from which this
treatise presumably originates and which were partly published in advance (see the
first two entries under “<ref target="bedeutung-hanslick-engl.html">Eduard
Hanslick Schriften</ref>”) did not figure into this edition.</p>
first two entries under “<ref target="bedeutung-hanslick-engl.html?lang=en">Eduard
Hanslick’s Writings</ref>”), did not figure into this edition.</p>
<p>The editions of the original treatise—transcribed and corrected by Meike
Wilfing-Albrecht—are reproduced as faithfully as possible, the spelling is
retained. Errors that were corrected by Hanslick himself within the editions—e.g.,
the change from “psychisch” (psychic) to “physisch” (physical), 2.13, from edition
9 onward—are also reproduced faithfully. Only evident errata (e.g., “Mnsik”
instead of “Musik,” 5.6, in edition 3) have been corrected without indication.
Paragraphs are maintained (except for poems) and numbered by taking edition 1 as
the point of origin. Modified paragraphs between editions are indicated by the
following markers: contraction → &amp;; subdivision → a and b; addition → 3rd
decimal place; deletion → number gap. Page numbers and breaks can either be shown
or masked by using the “annotations” menu. Verse breaks are indicated by using
Paragraphs are maintained (except for poems) and changes between editions are
indicated by the following markers: contraction → &amp;; subdivision → a and b;
addition → 3rd decimal place; deletion → number gap. A revised collation feature
is currently being developed. Page numbers and breaks can either be shown or
masked by using the “annotations” menu. Verse breaks are indicated by using
slashes /. The footnotes have been converted to endnotes with jump marks and have
been numbered consecutively instead of using the original asterisks * to provide a
more precise attribution Up to edition 7, the headings of individual chapters were
more precise attribution. Up to edition 7, the headings of individual chapters were
only displayed in the table of contents. For the purpose of manageable navigation,
they were incorporated into the transcription of editions 1-7. </p>
they were incorporated into the transcription of editions 1–7. </p>
<p>The printed copies of <emph>Vom Musikalisch-Schönen</emph> contain several fonts,
the meticulous reproduction of which, however, did not seem sensible for the
purpose of a digital edition. The German main text is set in Fraktur script
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Alexander Wilfing, who oversaw the entire edition process. In a first step, names,
works, and places were marked up as entities, each of which can be color-coded in
the online edition by using the “annotations” menu. In the index—where <ref
target="https://hanslick-online.github.io/hsl-app/listperson.html"
>persons</ref> (historical as well as fictional) and <ref
target="https://hanslick-online.github.io/hsl-app/listbibl.html">works</ref>
are further linked with each other—and the detailed information of annotations,
the spelling of the <ref target="https://lobid.org/gnd">GND</ref> data base was
used for person names (if available in each case), and that of <ref
target="listperson.html?lang=en">persons</ref> (historical as well as
fictional) and <ref target="listbibl.html?lang=en">works</ref> are further linked
with each other—and the detailed information of annotations, the spelling of the
<ref target="https://lobid.org/gnd">GND</ref> data base was used for person
names (if available in each case), and that of <ref
target="https://www.geonames.org/">GeoNames</ref> for place names. In the case
of names / places, only names / places themselves and terms which are directly
related to names / places were marked, but not groups of people that have such
references. For example, “Griechenland” (“Greece”) and “griechisch” (“Greek”) are
annotated, “Griechen” (“Greeks”), however, are not, which then also applies to
“Gluck” and “Piccini”, as opposed to “Gluckisten” (“Gluckists”) and “Piccinisten”
(“Piccinists”) (2.43). Such terms can, of course, be found via <ref
target="https://hanslick-online.github.io/hsl-app/search.html">full-text
search</ref>. The logo of “Hanslick Online” was created by Olivia Reichl.</p>
target="search-engl.html?lang=en">full-text search</ref>. The logo of “Hanslick
Online” was designed by Olivia Reichl.</p>
</div>
<div type="sub">
<head>How to Cite</head>
<p>Eduard Hanslick, <emph>Vom Musikalisch-Schönen: Ein Beitrag zur Revision der
Ästhetik der Tonkunst</emph>, ed by Alexander Wilfing in collaboration with
Meike Wilfing-Albrecht and Christoph Landerer (2023), edition number, paragraph
Meike Wilfing-Albrecht (2023), edition number, paragraph
number, hyperlink. </p>
</div>
</div>
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