ART AND TRUTH
Difficulties like these, however real, were nevertheless tolerable within a value system that equated innovation with liberation, and that took as its objective the freeing of the artwork and its producers from dependence on social norms defined by consumers. Boring or annoying their contemporaries was not only considered by committed Zukunftists a fair price to pay, it was often taken in itself to be a mark of progress. Casting the New German or neo-Hegelian philosophy of art in terms borrowed from economics, moreover, was very much the fashion at the time, vividly illustrating the way in which the innovatory spirit in the arts reflected other modes of nineteenth-century Utopian thought. At a time of widespread Utopian theorizing, it was considered the very opposite of a defect to be ahead of one's time, in communion not with one's contemporaries but with one's progeny. The myth of the artist-prophet, to which Beethoven was at once assimilated, had its birth in these theories. It still lives.
- Citation (MLA):
- Richard Taruskin. "Chapter 8 Midcentury." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 30 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-008006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 8 Midcentury. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 30 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-008006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 8 Midcentury." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 30 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-008006.xml