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Music in German PhilosophyAn Introduction$
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Stefan Lorenz Sorgner and Oliver Furbeth

Print publication date: 2011

Print ISBN-13: 9780226768373

Published to Chicago Scholarship Online: March 2013

DOI: 10.7208/chicago/9780226768397.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 02 December 2021

Schelling

Schelling

Chapter:
(p.95) Schelling
Source:
Music in German Philosophy
Author(s):

Berbeli Wanning

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226768397.003.0005

This chapter provides the biography of Friedrich Wilhelm Joseph Schelling and describes his particular thoughts on musical philosophy. Schelling was born in Leonberg on January 27, 1775. In his final years, he continued to lecture at the Prussian Academy of Sciences. Schelling divided art into real and ideal, according to whether they manifested the objective, physical aspect or the subjective, spiritual aspect. His ideas about music as a formative art became influential only after the posthumous publication of Philosophy of Art. The contradiction between the ideal and the real was the basic pattern of Philosophy of Art. Schelling's music-aesthetical reflections can be comprehended as the attempt to do away with music's lack of aesthetic legitimacy. His Philosophy of Art attracted little notice among a broader public that had already turned its attention toward an aesthetic that was more strongly indebted to positivism.

Keywords:   Friedrich Wilhelm Joseph Schelling, musical philosophy, Philosophy of Art, aesthetic legitimacy, real, ideal, positivism, Prussian Academy of Sciences

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