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Scan 35
Harvard Dictionary Of Music, 1944
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1be taken in its widest sense, including all structural and stylistic elements of music). He admits the use of designations such as "powerful," "graceful," "tender," "passionate," but only in order to illustrate the musical character of the passage, not to suggest a definite feeling on the part of composer or listener. Still farther in this direction went August Halm (Von zwei Kulturen der Musik, 1913), who must be considered the most outstanding representative of musical aesthetics of the present day. The following quotation from the Talmud, given at the beginning of his book, is an adequate expression of the central thought of musical autonomy: "If you want to understand the invisible, look carefully at the visible." Halm, as well as his successors, E. Kurth, H. Hermann, F. Joede, and others, advocated the separation of the musical work from the emotional world of both the composer and the listener, and the emancipation of the musical thought from "sensuous intoxication and hallucination."
3See also *Affektenlehre; *Hermeneutics; *Musica reservata; *Maniera.
5Lit.: F. M. Gatz, Musik-Aesthetik in ihren Hauprichtungen (1929); H. H. Briton, Philosophy of Music (1911); H. Riemann, Catechism of Musical Aesthetics (1895); R. Schaeefke, Geschichte der Musik-aesthetik (1934); H. Besseler, "Grundfragen der Musik-aesthetik" (JMP xxxiii). For a bibliography of recent psychological studies, cf. D. H. Daugherty, A Bibliography of Periodical Literature in Musicology … (1940), pp. 108ff. Cf. also MoML, 538f.
7Aevia. An artificial word, consisting of the vowels of *alleluia (u = v). It is occasionally used as an abbreviation in manuscripts of Gregorian chant. See *Euouae.
9Affabile [It.]. In a pleasing manner.
11Affaiblissant [F.]. Weakening, diminuendo.
13Affanato [It.]. "Panting," i.e., as in distress.
15AFRICAN MUSIC
17Affannoso [It.]. Sadly.
19Affektenlehre [G.; doctrine of affections]. The aesthetic theory of the *empfindsamer Stil (sensitive style) of the later 18th century, formulated by J. Quantz and Ph. Em. Bach, according to which the chief aim of music is to portray certain typical emotions, such as the tender, the languid, the passionate, etc. This theory, which is realized in the works of Ph. Em. Bach, marks an important advance over the superficiality of the Italian "stile galante" (*gallant style) and, in spite of its rationalistic nature and schematic methods, paves the way for the free expressiveness of the Beethoven style. See *Aesthetics III (a); *Musica reservata.
21Lit.: W. Serauky, Die musikalische Nachahmungsaesthetik im Zeitraum 1700–1850 (1929); M. Kramer, Beiträge zu einer Aesthetik der Affektenlehre in der Musik von 1550–1700 (Diss. Halle 1924); H. Goldschmidt, Die Musikaesthetik des 18. Jahrhunderts (1915); G. Frotscher, Bach's Themen-bildung unter dem Einfluss der Affektenlehre (1926); R. Schaeefke, "Quantz als Aesthetiker" (AMW vi); H. Abert, in AMW v; H. Kretzschmar, in JMP xviii, xix; F. Stege, in ZMW x; A. Schering, in JMP xlv.
23Affetti [It.]. The term appears as a title of various publications around 1600 [Dolci Affetti (1595); S. Bonini, Affetti spirituali in istile di Firenze or recitativo … (1615); B. Marini, Affetti musicali, op. 1 (1617)], probably in order to emphasize the emotional character of the music. It is also used in early violin sonatas to designate a certain type of ornamentation, either tremolo or arpeggio [cf. SchGMB, no. 183; RiHM ii. 2, 120].
25Affettuoso [It.]. Affectionate, with warmth.
27Affrettando [It.]. Hurrying.
29African music. See *Primitive music; *Arabian music; *Ethiopian Church music; *Coptic Church music.
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