Aesthetics of musical art; or, The beautiful in music

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Chap. II. — Of the music of mankind Music the product of free self-activity of the mind

Music the immediate representation of the activity of the feelings

J'AGH

vii

19 25 33

48 61

V CONTENTS.

Chapter II. — contuiued.

Music the product of the spirituality and of

the totality of the powers of the mind 127

Melody . 133

Harmony . 1491

Free play in tone-pictures . 177

Modification of expression 182

Subordination to the idea of Beauty 187

TRANSLATOR'S PREFACE.

Esthetics is the name originally given to the philosophical theory of the Beautiful by the German philosopher Baumgarten, who derived it from the Greek word aisthetikos, signifying, I begin to perceive, or I am sensible. That this term is quite inadequate to express the nature, or object of the science, is obvious, although, from an entirely different point of view, it may not seem ill-chosen, seeing that even at the present day, we are but becoming sensible of beauty as a given property of objects. Esthetics has not long ranked as a separate science, but since Baumgarten's attempt at an exposition {^^sthetik, Frankfort, 1750), numerous works of the kind have appeared in viii TRANSLATOR S PREFACE.

Germany. It must be admitted that the subject is peculiarly congenial to the German intellect, and that the German language is vastly rich in words suited to the expression of this and kindred subjects. The paucity (absence ?) of works of this nature in our own tongue is remarkable, and is perhaps only to be accounted for on the supposition that the English, as a nation, are more practical, and less speculative, than their Teutonic brethren.

The present work is, I believe, generally regarded as being the best amongst those which treat of Esthetics with exclusive reference to musical art, and we may naturally feel surprised that, as such, it should be the production of an amateur. Yet it is so. Dr. Ferdinand Gotthelf Hand, privy councillor, and professor of Greek literature, was born at Plauen, in Saxon Voigtland, on the 15th February, 1780. He studied philology at the University of Leipzig, and proceeded to his degree in 1809. In 181 7 he was nominated professor at the University of Jena, and not only attained to repute in the pursuit of his avocation, but also as the director of the Academy Concerts held in that town. He died in Jena on the 14th March, 185 1.

translator's preface. ix

Since the publication of Dr. Hand's treatise, but few works on the Esthetics of Music have been given to the world, notwithstanding the fact that the, now, well-sifted critical disquisitions into the peculiarities and artistic value of the poetic compositions of Schumann, Chopin, Sterndale Bennett, &c., have rendered a further development of the science possible and even necessary, at the same time securing to us, by virtue of the reaction, a deeper insight into the works of the classical period of Beethoven and Mozart. There is ample scope for a further treatment of the subject from a more modern point of view, which would, doubtless, necessitate a reconstruction of the old system.

This work now passes out of my hands into the hands of those who are more competent than I to judge of its merits and demerits. Such being the case, I would merely ask that those persons who are indebted to me for its reproduction under the altered circumstances of language, will not be too severe in their criticisms of my modest effort, seeing that I was thrown entirely upon my own resources for an intelligible English terminology, having no native work to guide me ; I would further remind them that a trans-

X translator's preface.

lation, even when more conscientiously performed than that now before the reader, must ever fall short of the original ; and lastly, I trust that no one will charge me with assuming too much when I say that, with the exception of certain lectures delivered at South Kensington by Mr. Ernst Pauer, the present attempt is the first that has been made to popularize the science of Esthetics in this country. Weak as I now feel my endeavours at a translation to have been, and vividly conscious of the pithy remark of a certain poet, I would still beg the indulgent reader to place my good intentions in the balance with all crudities of composition.

Walter E. Lawson.

Brixton.

PREFACE.

Had a general concurrence enforced the opinion advanced by Nageli to the effect that it is hardly permissible to the Dilettante to speak on matters appertaining to musical art, I should have laid this attempt before my readers with a greater show of diffidence than I do under the existing circumstances. As it is, I can meet the reproof with the conviction that, should the undertaking fail in my unskilful hands, the blame will attach to the artists by profession, who, being more directly concerned, should have taken up the subject, and not have tacitly committed it to the hands of an Amateur. Our literature does not as yet include a work xii , PRKFACE.

upon Musical Esthetics, and the information upon the subject which is to be gleaned from treatises on General Esthetics is not sufficient. The necessity for such a work became daily more manifest, for in the periodicals, works were judged from an sesthetical point of view, and were referred to principles which, if existing, were, at all events, nowhere clearly explained. The readers of these periodicals will agree with me, that a thorough confusion of language prevails in them, consequent upon the many different views taken of the matter ; while, not seldom, a vague manner of expression, in which a leading principle was wanting, was the cause of a failure in the result.

This state of things called loudly for redress, and promises of an Esthetics of Music came from many quarters, but none of them were fulfilled. After a few attempts at a representation on a scientific basis, a fundamental idea would at length prevail, and the gain to artistic productiveness would not be w^ting. An earnest commencement must now be made.

No one can tell me so emphatically as I myself, of the weaknesses under which this work labours — its foundation does not appear suffi-

PREFACE. XUI

ciently comprehensive, the references to examples should be more abundant, as a composition it lacks fluency and elegance ; but should anyone say that this book contains much that is already known or recognised as uncontrovertible truth, it can hardly be construed into a reproach, seeing that it was simply intended to collect that which is already generally received, and reconstruct it upon a more solid foundation. Every particular shall be systematically arranged.

There is yet one thing that I am candid enough to admit, it is, that that which is here laid before the reader, without arrogance and destitute of polemical tendencies, is a product of the warmest and purest love for the art. As such, may it meet with a friendly reception, and be the means of inducing others, more intelligent, soon to supply a better.

The order which I have adhered to throughout the investigation is explained in the Introduction. The book itself I wish to be regarded as an educational work, that no one may expect to find in it a means of delightfully amusing himself, but, rather, be induced thereby to think more deeply, and to aim at the further development of the hints which it contains.

XIV PREFACE.

The second part, which will contain the jEsthetical Rules of Composition, will follow the present volume as quickly as the leisure time at my disposal will admit.

F. HAND.

Jena, 12/A August, 1837.

INTRODUCTION.

^O speak of music, and to judge musical works according to a certain fixed standard of legality, is in many respects difficult, and where the understanding is not quite clear, far more hazardous than the majority of those who allow themselves freedom in this respect are wont to imagine. The subject regarded in itself, does not fall within the province of the understanding and the ideas, and is sometimes difficult to convey by means of words ; rather must it be drawn within the province of the imagination, and gained therefrom by abstraction.

Vain would be the attempt to demonstrate to a man of understanding only, a property which requires an ear and a heart for its thorough comprehension. The supposition that .^Esthetics consists of formal

B ideas, sometimes leads to an unsuccessful attempt to teach that which can alone be_ graspgd_ b}L-the__\vhole Soul.

On the other hand, every person draws a standard of judgment from the sphere of his individual feelings, and thus forms an opinion in accordance with the principle, that within the province of the feelings, no call is made for general arbitration. In the endeavour to arrive at some rule the majority of writers are apt to lose themselves in unclear thoughts, buried beneath the empty forms and inaccurate definitions of a fantastic language, and, for all the number of words used and their florid character, nothing is propounded, or at least nothing is proved.

Indeed, the way in which a judgment of a musical work is formed, itself increases the difficulty. The painting and the statue are visible to the eye, and can be observed with quietude and with a fixed regard ; but a work of musical art passes over, and scarcely leaves us a moment for thought. A simple reading of the notes, although often considered sufficient by the art critic, can never answer the purpose of an immediate perception of living tone.

Nevertheless, these difficulties and the danger of misconception, must -siot render us fearful of making an attempt. We should also have to preserve a silence on such themes as Religion and Love, and the Beautiful in general, were it denied us to search thoughtfully into the innermost and most secret recesses of the Soul for the law by which the creative power of genius originates works of art. And by whom, ifi the ordinary paths of Hfe, has not the want of an explanation of the nature and value of artworks been felt, more particularly from a desire to become clear as to what musical Beauty is, and how it operates, what may constitute the boundaries of this art province, and in what forms the musical art creates and asserts itself. _

The purpose of the elucidation is only to be attained under a twofold condition.

In the first place let it be taken for granted that in the vast region of the Soul's activity, not everything comes home to the ideas, and not everything receives confirmation from the deductions of the understanding, but requires, from a vivifying belief, a something final and undemonstrable, which may be recognised and grasped as an actuality.

One such thing is the recognition of Truth, another the immediate perception of the Beautiful, inasmuch as these phenomena of existence contain a finality, rising beyond the region of the ideas, which is given to the belief in an Infinity, and of which we, in our feelings, become sensible. Here the hint must suffice.

The second condition which helps to render an understanding possible, lies in the participation in the establishment of a fundamental principle. Until all are agreed as to the general nature of music, conflicting opinions will preclude the possibility of a true and sufficiently comprehensive assessment of the Beautiful in music, nor will any person who has not made clear

B 2 to himself such fundamental principle, be in a position to form a correct estimate of, or even to fully comprehend, a single work of art.

Nowhere do we find, so daily experience teaches us, such undigested observations, and empty utterances, often hidden beneath a fantastic and brilliant language, as in matters belonging to musical art. The majority pretend to feel that which cannot possibly be felt, and from poverty of clear ideas, make use of representations and comparisons to explain that which they assume to be unutterable, without in the slightest degree clearing up the subject.

No doubt we must allow that everyone has a right to speak on human affairs, if it be done without arrogance ; and if the aesthetical criticism of musical works falls principally within that circle distinguished by the name of Dilettante, and musicians by profession are not seldom disdainfully overlooked, on the other hand it may be observed that but few artists are competent with respect to art-philosophy, or able to enlighten us on matters of canon.

These considerations may sei-ve to enlarge our sphere of observation.

§11.

In this investigation we must not neglect to take into consideration the music prior to and distinct from the art-work. The Primitive and the Universal we must regard as a basis, resolve it into its elements, and seek to discover the one nature which it exhibits under all forms. Intellectual life in its relation to the sensuous phenomenon of tone must be clearly explained, and the secret of the soul's innermost existence receive an interpretation ; the province of art, to which Beauty first attaches itself, must be brought within more definite boundaries, and its laws explained with sufficient validity.

In the accomplishment of this task the question naturally arises whether our enquiries shall be directed to the music which sounds and is sung, or to that which is appreciable and is heard ; whether the object of music consists in its being expressed or sung, or whether it exists simply to delight when listened to. Is the performance of a musical work only a copy of the art-work or the art-work itself.' Or are musical works, without performance, like badly hung paintings ? Is, to one who plays or sings in the absence of other listeners than himself, his own perception by hearing, or the expression of his individual feelings, the principal matter ? If these questions remain unanswered misunderstandings can but result. .

In former times Athanasius Kircher, and at a more recent period Nageli, wrote concerning music which is heard, which produces effect. Others, on the contrary, have addressed themselves solely to that which is composed, to the product of the mind. If an art-work exists that it may be grasped by the ideas, and may please, or that it may convey to the mind an ideal satisfaction, then music may be said to strive, in the first degree, after utterance, and to desire to express in song and play that which moves the heart.

In it we observe the Subjective and Objective united, inasmuch as the performance of an unknown composition is but a reproduction of the original, and the person who performs regards as his own the feelings which he has but adopted, while he who listens feels the same excited within him.

§111.

The jEsthetical treatment of music is, in all cases where a systematic foundation, and the derivation of art rules are concerned, rendered difficult by the absence of previous efforts. From a remote period, the system of general aesthetics has been cautiously added to, and securely based, so that for every successive investigation a rich store of information was available ; the special Poetik found its elaborators ; music, alone, shared with painting the lot to be kept back, to the great detriment of the subject in general. If aestheticians had carried their arguments into the province of musical art, they would have become aware of the unsatisfactory nature of many of their theorems.

Long since had music developed into an art, and had contained the Beautiful, but for all that it remained but an object of enjoyment or veneration.

without being drawn within the sphere of aesthetical observation. The philosophers despised it, or at least did not trouble to ask themselves whether a science of musical art were also possible. Scientists busied themselves only with the technical and mathematical contents. Until the development of a science of the Beautiful, and of the Fine-arts, by Germans, a foundation was wanting. In the musical works which have been handed down to us from ancient times, the aesthetical always forms the weakest part.

To what extent Pythagoras was acquainted, in music, with the law of well ordered ratios, and the mathematical basis, pointed out its parallel in the laws of moral life, and practically studied the educational influence of the art, is only known to us in a general way. Plato, from a more elevated point of view, recognised in music the expression of thejnner life, as a representation of the various conditions of the mind, and regarded the idea of the Beautiful as its foundation, which — as moral beauty combined with that which is good — emanates from God, and therefore leads to unison with God.

He raised the purpose of music beyond that of mere sensuous enjoyment, and censured those who valued it only in proportion to the amount of amusement which it provided for them. Inasmuch as he condemned, as being too artificial, the use of instruments independently of poetry, he doubtless wished to withdraw music from the part which it took in the mere gratification of the senses, to a higher world of thought, for he also saw in it a fountain of the purest harmony of Hfe, and a revelation of the Divine idea. Herewith a notion of the' intellectual character of music was gained, and of the great scope which was offered for developing the unity of the idea of the Beautiful and Good.

Aristotle did not differ from these views to any material extent. He, also, ascribed to music an intellectual and divine character ; beheld in it a free art, which neither served a useful purpose nor as a pastime ; and recognised its influence in the noble occupation of the mind, and as a means of moral education. Poetics alone developed his sesthetical views more thoroughly.

To the Pythagoreans, who were called Canonici, and their mathematical theory, Aristoxenus opposed himself with the assertion, that in musical matters not only the understanding but also the ear judges, and thus led up to the question, What part do understanding, perception, and feeling simultaneously take in music ? But he failed to arrive at any definite results.

Among the remaining writers on musical subjects, who for the most part treated only of the tonal system, Claudius Ptolomsus can alone be mentioned as having, at a later date, without reference to any other authority secured the science of Harmony on a firmer basis, and while tracing the origin of music to the feelings, expounded clearer views with regard to key characteristic.

However valuable may be the acute views and reflections of the ancient writers upon the significance of music, and its influence upon life, still a general fundamental view, and a theory, were not to be thought of while music was but regarded as a handmaid of Poesy. Art here also was in advance of theory. This we learn from the History of Music in the Ghristian era, which also makes known to us the fact that the theoretical matter treated of up to that time, was confined to the grammar, or the mathematical-technical part of the art, — to Thorough-bass and the Art of Composition. Concerning what pleases us in tones, and how it pleases, but few troubled themselves. Still music was not regarded as a fine art, in which a deeper penetration into the nature of the Beautiful was taken for granted ; this only became possible as the whole province of the psychological was defined and arranged.

To the school of the philosophers Wolf and Baumgarten belongs the credit of having again drawn the Beautiful into the province of philosophical discussion, and of having set up, side by side with Logic, and Ethics, an Esthetic, as science of the Beautiful and of the Fine Arts. The Beautiful, however, was regarded as equivalent to the Perfect, and the conditions under which anything pleases, were derived from the idea of Perfection ; on the other hand, the recognition of the Beautiful as sensuous, was held to be a confused and indistinct view of the matter. The other arts, however, soon found their aesthetical elaborators : Painting lO INTRODUCTION.

in Hagedorn and Mengs, Sculpture in Winkelmannf and Poetry in Lessing. Music alone remained disregarded, and no one saw in it more than " the representation of passionate emotions." The Beautiful was either left wholly unnoticed, or but casually mentioned. And thus it remained, until Kant, by tracing ' the limits of the spheres of the soul's activity, became the founder of an art-philosophy. Music he regarded indeed as but a pleasing play of the emotions excited from without, but he failed to make clear to himself whether a mere sensuous impression, or the effect of a discernment, of form prevailed in that play.

No contents make a claim upon our consideration, where the tones contain in themselves both Means and End, and only aim at exciting the sensuous perceptions. As Kant did not allow music to be the language of the emotions, and a means of awakening sesthetical ideas, all that was left to him, to associate with a fertility of thought, was the mathematical form made use of in amalgamating the sensations ; and inasmuch as with regard to charm and the power of animating the feelings, he ranked music below poetry, so he assigned to it, from an intellectual point of view, the lowest position amongst the arts, seeing that it merely affects the sensations.

The later investigations of the Idealists and Natural Philosophers led to an important change, inasmuch as through them an art-science resulted, in which the arts were arranged as members of a great Whole. Some insisted upon the recognition of a higher significance in music, and claimed for it a participation in an ideal Beauty ; others associated Nature, and the Mind, and pointed out the unity which exists between them, and explained the relation which Art bears to Nature, all of which had a considerable influence upon the special .(Esthetics. Still no one attempted a work upon the .^Esthetics of musical art. That which has been given out under this title in Schubert's papers contains much valuable matter ; that which Wilhelmj Miiller (Leipzig, 1830) has termed musical aesthetics, is far removed from scientific investigation. Greatly to be esteemed are Seidel's contributions to Cliarinomos, and those of certain writers to the Musikalische Zeitung and Cdcilia. Much that is acute and ex- CQllent is to be found scattered through other aesthetical papers.

§IV.

The scientific endeavours to secure a foundation for the views regarding the Beautiful and Art, never failed to exert an influence upon art-culture, though it would be difficult to show how the theories of the schools thus became effective. Art strikes its own path, preceding theory ; but in cases where the doctrines of philosophy pass into, and become fundamental ideas of life, their influence upon art products can be shown. This is confirmed by the History of Music, and proves the value of aesthetical observation in relation to the progressive development of art. Leibnitz guided by his own philosophical views of things, could but complain of the too artificial character of the music of his time. Richardson's Romances were expressive of the principles of English moralising aesthetics, Schiller's Tragedies are the fruit of an idealistic soil ; and the principles maintained by Rousseau, by which music has only to please the ear, have asserted themselves throughout a lengthened period. On the other hand, the great compositions in the strict and earnest style of Handel and Bach, could only have been the produce of a time when there was neither necessity for a soft sentimentality, excited by fictitious affections, nor for art, originating in a fantastic philosophy of life, but rather, when the feelings bore in themselves a strong belief in religion, and the understanding maintained the balance of healthy reflection. Mozart, seizing directly upon the Beautiful, strove after contents and perspicuity. Beethoven was an Idealist, and having the power to lend an ideal beauty to the most minute and seemingly unimportant matter, strove after universal harmonies.

Even with regard to the value of music, and of its kinds, opinions have, from a remote period, been at variance. Some will only recognise music when it is associated with poetry, and declare, with Hegel, that instrumental music is empty and incomprehensible ; others approve only of the ancient and strict church style ; and close the list of original writers with Handel and Bach. Not even where the Nature of music is called into question, have they been able to avoid the dangers of extremes ; and one altogether denies to it intellectual import, another sees in it the language of an earthly felicity. In more recent times, the disputants have divided themselves into two parties, of which the one sees in music only a play of well sounding tones, and even goes so far as to assert that the more empty it is, the better it fulfils its purpose ; the other bases all upon a predominating significance. The former do not consider that a work of fine-art in which an idea is invariably present, is quite out of the question where tones are simply sported with ; the latter overlook the fact, that Beauty can of itself satisfy, without borrowing a prop from the province of the understanding and reflection. Where such differences exist, nought but an enlightened rudimentary idea of the nature of music, and of the Beautiful in musical art, can be the means of securing a firm judgment, and of making its theoretical influence felt. On many points all are agreed, and a mutual explanation alone is necessary, while even where opinions are divided, the truth is usually present, although it may be somewhat obscured. This may serve us for consolation and comfort.

J4 INTRODUCTION.

.(Esthetics is the name given to the Science of the Beautiful, or to the contemplative existence governed by the idea of the Beautiful, in contradistinction to the Sciences of the True and Good, or Logic, Metaphysics and Ethics. Its general foundation and position in the province of philosophical discipline, we may assume to be explained elsewhere, and we need be under no concern because the name does not precisely express its purport, seeing that it can neither be exchanged for that of Science of the Taste, nor, without still greater ambiguity, for Science of Art.

If the purpose of general esthetics be to determine the nature of the Beautiful, and to consider its forms theoretically, to describe the faculties of the mind called into activity by the Beautiful, and to explain the position which it occupies with regard to life ; and if it proceed in the second degree to consider the laws of the representation of the Beautiful in Art ; then a special aesthetics should treat of the same subjects with reference to a particular sphere of art. Therefore we possess the .(Esthetics of musical art, as of the plastic arts and poetry, according as the Beautiful is expressed in tones, or forms, or in thought-pictures and words ; and explanation shall be given as to what constitutes the pleasing and the ideal in tones, and how the musical artist imparts to his works an aesthetical content^.

INTRODUCTION. IS

§ VI.

The Science of tones may be divided into three branches, the physical, the mathematical and the aesthetical. The physical nature of tones, how they are produced and become perceptible, is taught by Acoustics. The Canonic treats of the value and mutual relation of tones ; and their combinations, and, in the science of composition, gives the rules for their treatment.

The science of .(Esthetics regards the fine-art music as an object of investigation, in order to ascertain how^ the Beautiful is made apparent in works of this art, and what it is that makes a musical product a work of art. Far removed from it is formal tcchnic, which in a work of musical instruction, remains the subject of treatment only as far as it may be unassociated with a higher intellectual significance ; and even that which is formal in respect of Melody and Harmony, and constitutes the scientific part of composition, does not wholly come under consideration. But inasmuch as it makes the Intellectual a subject of investigation, and treats of the Beautiful in musical works, it cannot proceed securely, until an understanding is arrived at as to \diat music may_represent, and how such representation is made. Consequently we may not forego to speak of the Nature of Music generally, or to regard the whole tone-world, even as it is, without the perfect impress of Beauty; for we should but erroneously ascribe to tone itself, a Beauty which does not primarily dwell within it. If we may allow ourselves the definition, such a science is a Philosophy of Music.

§VII.

In the following investigation we shall endeavour to complete, in four books, the tasks here briefly mentioned. The first of these books will treat of the Nature of music ; the second of the Beautiful in musical art ; the third of the laws of musical art works in general ; the fourth of the rules relating to individual musical works. We shall commence by fixing the boundary line which divides the province of Nature from that of Art, and by following the aesthetical element in its separation from the natural material, and in its gradual development to perfect Beauty. Arrived at the Art-work we shall then have to seek out the universal art rules for the invention of a musical work, and to explain the peculiarities and legality of the various kinds of art forms hitherto invented and made use of

Book The First. Of The Nature Of Music

In a certain sense, as the following investigation will show, music falls to the lot of mankind only, who regards it from the province of intellectual life, wherein the word and the idea have a narrow signification and only become perfectly valid when used in reference to art. In a broader and more universal sense, music — inclusive even of the Beautiful which pervades it — belongs to the whole of Nature, and to every being possessing intelligence. The Beautiful does not confine itself within the limits of human art, but is not less apparent in the creations of Nature, and indeed earlier than and before all art, although it perhaps exists for mankind alone. Therefore our first observations must be directed to the Music of Nature in general. It forms the foundation of all that which is to follow, and must be made to take in the full import