CHAPTER 8 Midcentury
The New German School; Liszt's Symphonic Poems; Harmonic Explorations
Historians generally, and musicologists in particular, are seldom associated with the avant-garde. Their contemplative lifestyle and their antiquarian scholarly interests lend them an air, in uninitiated eyes, of conservatism. But historians of a certain type—or rather, adherents to a certain theory of history—have conspicuously allied themselves with avant-garde movements, seeing themselves not only as passive recorders of events but as active participants in their making. This type of activist historian, the product of a somewhat improbable union of Enlightened and romantic thought, reached a peak of prestige and authority in mid-nineteenth-century Germany, just as German music was reaching its own peak of prestige and authority, and when it was widely believed (not only by musicians) that “music is the sovereign art of the present.”1 The history of that country and that century, and particularly of that music, cannot be fully understood without some knowledge of the history of history.
- Citation (MLA):
- Richard Taruskin. "Chapter 8 Midcentury." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 6 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-chapter-008.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 8 Midcentury. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-chapter-008.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 8 Midcentury." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 6 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-chapter-008.xml