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|a Grimes, Nicole
|e verfasserin
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|a In Search of Absolute Inwardness and Spiritual Subjectivity? The Historical and Ideological Context of Schumann's 'Neue Bahnen' / U potrazi za apsolutnom biti i duhovnom subjektivnošću? Povijesni i ideologijski kontekst Schumannova članka 'Novi putevi' ('Neue Bahnen')
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|a Most discussion of Robert Schumann's 1853 article 'Neue Bahnen' focuses on the impact the article had on Johannes Brahms's later compositional career. Others explore the influence Schumann exerted on Brahms during the time that the two spent together before Schumann's untimely death and, more specifically, through his 'Neue Bahnen' article. Yet, less attention has been given to Schumann's reasons for writing the essay in the first place. Following Schumann's retirement as editor of the Neue Zeitschrift für Musik in 1845, Franz Brendel took over the post. The direction of the journal was altered considerably under Brendel's editorship. Hegel's influence is indelibly marked on his aesthetic, historical, and critical outlook, whether this is through Brendel appropriating aspects of Hegel's philosophy, or diverging from it and challenging it. This article explores the historical and ideological context of 'Neue Bahnen'. I argue that Brendel's thinking stemmed from a philosophical mindset as opposed to that of Schumann whose thinking very much stands out as that of a practising musician. I suggest that Schumann's essay, when viewed from this perspective, can be understood as part of a larger divide that would emerge in Brendel's Neue Zeitschrift für Musik between those espousing a philosophical approach to music history and music criticism (Franz Brendel and Richard Pohl), and those advocating an approach that emphasises the pre-eminence of the artwork over philosophy and criticism (Theodor Uhlig, Wagner, and Schumann). And more significantly, I argue that 'Neue Bahnen' did not emerge in a critical vacuum. Rather, it was a response to a clearly defined and well understood strain in the critical discourse of mid-century. /// Najveći broj osvrta na Schumannov članak 'Novi putevi' ('Neue Bahnen') iz 1853. bavi se učinkom toga članka na kasniju skladateljsku karijeru Johannesa Brahmsa. Neki drugi osvrti istražuju utjecaj koji je Schumann izvršio na Brahmsa u vrijeme njihova druženja prije Schumannove prerane smrti, i to upravo njegovim člankom 'Novi putevi'. No manje se pozornosti posvetilo glavnim razlozima zbog kojih je Schumann napisao ovaj članak. Nakon što se Schumann 1845. povukao kao urednik časopisa Neue Zeitschrift für Musik, posao je preuzeo Franz Brendel. Usmjerenje časopisa znatno se promijenilo pod Brendelovim uredništvom. Njegovim estetičkim, historičkim i kritičkim nazorima dao je neizbrisiv pečat utjecaj Hegela, bez obzira je li se Brendel opredijelio za neki aspekt Hegelove filozofije ili se od njega odmaknuo pobijajući ga. U ovom se članku istražuje povijesni i ideologijski kontekst članka 'Novi putevi'. Nastoji se dokazati da Brendelov način razmišljanja potječe iz filozofijske nastrojenosti suprotne onoj Schumanna, čiju misao uvelike karakterizira način mišljenja praktičnog glazbenika. Predlaže se da se Schumannov članak, sagledan iz takvoga motrišta, shvati kao dio široke podijeljenosti u Brendelovu uređivanju časopisa Neue Zeitschrift für Musik što je nastala između onih koji su prigrlili filozofijski pristup povijesti glazbe i glazbenoj kritici (Franz Brendel i Richard Pohl) i onih koji su zagovarali pristup koji naglašava prednost umjetničkog djela pred filozofijom i kritikom (Theodor Uhlig, Richard Wagner, Robert Schumann). Još je važnije to što autorica smatra da se 'Novi putevi' nisu pojavili u kritičkom vakuumu, nego da su bili odgovor na jasno određeno i promišljeno djelovanje u kritičkom diskursu sredine 19. stoljeća.
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|a Copyright 2008 HMD / Croatian Musicological Society
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|a Johannes Brahms
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|a Robert Schumann
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|a Karl Franz Brendel
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|a Georg Wilhelm Friedrich Hegel
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|a Idealism
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|a Neue Zeitschrift für Musik
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|a Theodor Uhlig
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|a Richard Wagner
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|a 'Neue Bahnen'
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|a Richard Pohl
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|a Aesthetics
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|a Criticism
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|a Philosophy
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|a Hermann Christian Weisse
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|a Tonkünstler-Versammlung
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|a Tonkünstler-Verein
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|a Subjectivity
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|a Objectivity
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|a Arts
|x Art theory
|x Art criticism
|x Music criticism
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|a Economics
|x Economic disciplines
|x Labor economics
|x Employment
|x Occupations
|x Artists
|x Musicians
|x Composers
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|a Philosophy
|x Applied philosophy
|x Philosophy of music
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|a Philosophy
|x Axiology
|x Aesthetics
|x Applied aesthetics
|x Musical aesthetics
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|a Philosophy
|x Axiology
|x Aesthetics
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|a Arts
|x Performing arts
|x Music
|x Music theory
|x Music composition
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|a Arts
|x Literature
|x Literary studies
|x Literary criticism
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|a Social sciences
|x Communications
|x Communication skills
|x Language skills
|x Writing skills
|x Written composition
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|a Arts
|x High culture
|x Art music
|x Western art music
|x Romantic music
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|a Philosophy
|x Metaphilosophy
|x Western philosophy
|x Continental philosophy
|x Hegelianism
|x Original Scientific Papers / Izvorni Znanstveni Članci
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|a research-article
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|i Enthalten in
|t International Review of the Aesthetics and Sociology of Music
|d Council of the Academies of Sciences and Arts of the SFR of Yugoslavia, Academy of Music of the University in Zagreb, Department for Musical Art and Musicology of the Croatian Academy of Sciences and Arts
|g 39(2008), 2, Seite 139-163
|w (DE-627)372367437
|w (DE-600)2123176-X
|x 03515796
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|g volume:39
|g year:2008
|g number:2
|g pages:139-163
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|u https://www.jstor.org/stable/25487551
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|d 39
|j 2008
|e 2
|h 139-163
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