Aesthetics and the Art of Musical Composition in the German Enlightenment

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Aesthetics and the Art of Musical Composition in the German Enlightenment
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  Can an abstract theory of  empfindsam  aesthetics have any value to amusician wishing to study composition in the classical style? Theeighteenth-century German theorist and pedagogue Heinrich Kochshowed how this question could be answered with a resounding yes.Starting with the systematic aesthetic theory of the Swiss encyclopedistJohann Sulzer, Koch was creatively able to adapt Sulzer's conservativeideas on ethical mimesis and rhetoric to concrete problems of com-position. In this collaborative study, Thomas Christensen and NancyBaker have translated and analyzed selected writings of Sulzer andKoch, respectively, bringing to life a little-known confluence of philo-sophical and musical thought from the German Enlightenment. Koch'sappropriation of Sulzer's ideas to the service of music represents afascinating chapter in the evolution of Western musical thought.  TITLES IN THE SERIES1  Haydn's  Farewell Symphony  and the  Idea  of  Classical  Style:  James Webster2  Ernst Kurth:  Selected  Writings:  Lee A.  Rothfarb3  The  Musical Dilettante:  A  Treatise  on  Composition by  J.  E  Daube: Susan  P  Snook-Luther4  Rameau  and  Musical Thought  in the  Enlightenment:  Thomas Christensen5  The  Masterwork  in  Music,  Volume  I  (1925):  Heinrich Schenker, edited  by William Drabkin6  Mahler's Sixth Symphony:  A  Study  in  Musical Semiotics:  Robert Samuels  CAMBRIDGE STUDIES IN MUSIC THEORYAND ANALYSISGENERAL EDITOR: IAN BENTAESTHETICS AND THE ART OFMUSICAL COMPOSITION IN THEGERMAN ENLIGHTENMENT  Engraving from the frontispiece to volume I of Johann Georg Sulzer, Allgemeine Theorie der schonen Kunste  (1792 edition)
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