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Eduard Hanslick was born in Berlin, Germany, in 1825.
Answer: False
Explanation: Eduard Hanslick was born in Prague, Austrian Empire, on September 11, 1825.
Eduard Hanslick began his formal music education at the age of eight.
Answer: False
Explanation: Hanslick commenced his musical studies at the age of eighteen with Václav Tomášek.
Hanslick's seminal work, *Vom Musikalisch-Schönen*, was published in 1854 and significantly influenced music aesthetics.
Answer: True
Explanation: Published in 1854, *Vom Musikalisch-Schönen* (*On the Musically Beautiful*) is considered Hanslick's landmark treatise that profoundly shaped the field of music aesthetics.
Hanslick considered Mozart, Beethoven, Schumann, and Brahms to be the pinnacles of musical history.
Answer: True
Explanation: Hanslick's perspective on music history placed Mozart, Beethoven, Schumann, and Brahms at the apex of musical achievement.
Who was Eduard Hanslick and what were his primary professions?
Answer: An influential music critic, aesthetician, and historian.
Explanation: Eduard Hanslick was primarily recognized as a highly influential Austrian music critic, aesthetician, and historian, shaping musical discourse through his writings.
When and where was Eduard Hanslick born?
Answer: September 11, 1825, in Prague, Austrian Empire.
Explanation: Eduard Hanslick was born on September 11, 1825, in Prague, which was then a significant cultural center within the Austrian Empire.
What was the title and year of publication of Hanslick's seminal treatise on music aesthetics?
Answer: Vom Musikalisch-Schönen, 1854
Explanation: Hanslick's seminal work on music aesthetics, *Vom Musikalisch-Schönen* (*On the Musically Beautiful*), was published in 1854.
Hanslick believed that music's expressive power derived solely from its formal structure and dynamic movement.
Answer: True
Explanation: A central tenet of Hanslick's aesthetic theory is that music's expressive power originates exclusively from its formal organization and dynamic progression, termed 'tönend bewegte Formen'.
Hanslick believed music should convey specific narratives and emotional programs to be meaningful.
Answer: False
Explanation: Contrary to this statement, Hanslick argued that music's meaning is intrinsic to its form and structure, not derived from external narratives or programmatic content.
Hanslick's core aesthetic tenet is that music's beauty lies in its emotional content rather than its form.
Answer: False
Explanation: Hanslick's fundamental aesthetic principle posits that music's beauty resides entirely within its formal structures and dynamic movement, not its emotional resonance.
Hanslick's most well-known work, *Vom Musikalisch-Schönen*, argued that music's beauty was primarily derived from its emotional resonance with the listener.
Answer: False
Explanation: In *Vom Musikalisch-Schönen*, Hanslick contended that music's beauty is inherent in its formal structure and dynamic movement, explicitly rejecting the notion that it derives from emotional resonance or extra-musical associations.
Hanslick's aesthetic theory, particularly as outlined in *On the Musically Beautiful*, asserted that music's meaning was derived from:
Answer: Its formal structure and dynamic movement ('tönend bewegte Formen').
Explanation: Hanslick's theory posits that music derives its meaning and beauty from its inherent formal structures and dynamic interplay of sounds, encapsulated by the term 'tönend bewegte Formen'.
What does the phrase 'tönend bewegte Formen' (tonally moving forms) represent in Hanslick's aesthetic theory?
Answer: The abstract, dynamic interplay of sound and structure in music.
Explanation: In Hanslick's theory, 'tönend bewegte Formen' refers to the abstract, dynamic interplay of sounds and structures that constitute the essence of music's beauty and meaning.
What does the term 'aesthetician' signify regarding Hanslick's profession?
Answer: He was a philosopher specializing in the nature of beauty and art.
Explanation: As an aesthetician, Hanslick engaged philosophically with the nature of beauty, art, and taste, applying these principles specifically to the domain of music.
Hanslick was a proponent of programmatic music and often criticized composers who focused on absolute musical forms.
Answer: False
Explanation: Hanslick was a staunch advocate for absolute music and critically opposed programmatic music, which he believed relied on extra-musical elements.
Hanslick's career in music criticism began with writing for the prestigious *Neue Freie Presse*.
Answer: False
Explanation: Hanslick began his critical career writing for smaller newspapers before securing a position at the influential *Neue Freie Presse*.
Hanslick held a professorship at the University of Vienna, teaching music history and aesthetics.
Answer: True
Explanation: Hanslick held a significant academic position as a professor of music history and aesthetics at the University of Vienna.
Besides criticism and academia, Hanslick was also involved in the Austrian Ministry of Culture and served on competition juries.
Answer: True
Explanation: Beyond his writing and teaching, Hanslick contributed to cultural administration through his role in the Austrian Ministry of Culture and participation in musical competition juries.
Hanslick's critical approach was influential because his writings were deeply connected to his aesthetic theories.
Answer: True
Explanation: Hanslick's critical writings gained significant influence due to their strong grounding in his well-articulated aesthetic theories, shaping contemporary musical discourse.
What role did the *Neue Freie Presse* play in Hanslick's career?
Answer: It was a major Viennese newspaper where he served as chief music critic for decades.
Explanation: The *Neue Freie Presse*, a prominent Viennese newspaper, provided Hanslick with a platform as its chief music critic for many years, significantly contributing to his influence.
Besides his critical writing, Hanslick also held a significant academic position as:
Answer: Professor of Music History and Aesthetics at the University of Vienna.
Explanation: Hanslick held the esteemed position of Professor of Music History and Aesthetics at the University of Vienna, complementing his career in journalism.
How did Hanslick begin his career in music criticism?
Answer: By writing reviews for small-town newspapers and smaller publications.
Explanation: Hanslick initiated his music criticism career by contributing reviews to smaller newspapers, gradually progressing to more prominent publications.
Hanslick's conservatism in music taste meant he rejected established musical forms and favored radical innovation.
Answer: False
Explanation: Hanslick's conservatism led him to favor established musical traditions and forms, rather than radical innovation.
Hanslick's admiration for Richard Wagner began to wane after he reviewed Wagner's opera *Tannhäuser*.
Answer: False
Explanation: Hanslick's admiration for Wagner began to decline after his review of *Lohengrin*, not *Tannhäuser*, and around the time he published *On the Beautiful in Music*.
Eduard Hanslick is primarily remembered today for his advocacy of Richard Wagner and his opposition to Brahms.
Answer: False
Explanation: Hanslick is primarily remembered for his advocacy of Brahms and his opposition to Wagner and the 'music of the future'.
The 'War of the Romantics' was a debate Hanslick actively participated in, defending absolute music against the 'music of the future'.
Answer: True
Explanation: Hanslick was a key figure in the 'War of the Romantics,' championing absolute music and opposing the 'music of the future' movement.
Hanslick's friendship with Johannes Brahms began in 1862, and Brahms dedicated his opus 39 waltzes to him.
Answer: True
Explanation: Hanslick's close friendship with Brahms, beginning in 1862, is evidenced by Brahms dedicating his opus 39 waltzes to him.
During the "War of the Romantics," Hanslick primarily supported composers who championed:
Answer: Absolute music and adherence to classical forms.
Explanation: In the 'War of the Romantics,' Hanslick championed absolute music and composers who adhered to classical forms, contrasting them with the proponents of the 'music of the future'.
Which of the following composers did Hanslick actively criticize as part of the "Music of the Future"?
Answer: Franz Liszt
Explanation: Hanslick frequently criticized Franz Liszt, associating him with the 'music of the future' movement which he opposed.
Which of the following composers did Hanslick consider to be among the greatest, representing the peak of musical history?
Answer: Johannes Brahms and Robert Schumann
Explanation: Hanslick viewed Beethoven, Schumann, and Brahms as representing the highest achievements in musical history.
What was the nature of Hanslick's relationship with Johannes Brahms?
Answer: Hanslick was a close friend and supporter of Brahms.
Explanation: Hanslick maintained a close friendship with Johannes Brahms, actively supporting his music and positioning him as a successor to the classical tradition.
What does the cartoon from the Viennese satirical magazine 'Figaro' in 1890 depict?
Answer: Hanslick's strong admiration and support for Brahms.
Explanation: A 1890 cartoon in *Figaro* depicted Hanslick offering incense to Brahms, symbolizing Hanslick's profound admiration and support for the composer.
Hanslick's conservatism in music taste meant he generally favored:
Answer: Established musical traditions and formal integrity.
Explanation: Hanslick's conservative musical preferences led him to favor composers who upheld established traditions and maintained formal integrity in their works.
What was Hanslick's role in the "War of the Romantics"?
Answer: He was a key critic advocating for absolute music against the "music of the future."
Explanation: Hanslick played a crucial role in the 'War of the Romantics' by advocating for absolute music and critiquing the 'music of the future' movement.
The character Beckmesser in Wagner's *Die Meistersinger von NĂĽrnberg* was explicitly named Veit Hanslick in early drafts.
Answer: True
Explanation: It is widely suggested that Wagner based the character Beckmesser, originally named Veit Hanslich, on Eduard Hanslick.
Hanslick praised Tchaikovsky's Violin Concerto, calling it a masterpiece.
Answer: False
Explanation: Hanslick famously criticized Tchaikovsky's Violin Concerto, describing it as music that 'stinks to the ear'.
Richard Wagner accused Hanslick of being anti-German in his criticism, linking it to a perceived Jewish heritage.
Answer: True
Explanation: Wagner attacked Hanslick in his writings, suggesting his critical stance stemmed from a perceived 'gracefully concealed Jewish origin' and was thus 'anti-German'.
Hanslick's famous question about playing Chopin's mazurkas and the 'Battle of Ostroleka' was intended to dismiss any connection between music and emotion.
Answer: False
Explanation: While Hanslick emphasized music's formal qualities, his question about Chopin's mazurkas and the 'Battle of Ostroleka' acknowledged music's potential to evoke specific imagery or feelings, demonstrating a nuanced perspective.
What connection is suggested between Hanslick and the character Beckmesser in Wagner's opera *Die Meistersinger von NĂĽrnberg*?
Answer: Wagner modeled Beckmesser's character, originally named Veit Hanslich, after Hanslick.
Explanation: It is widely believed that Wagner based the character of Beckmesser, initially named Veit Hanslich, on Eduard Hanslick, reflecting their critical relationship.
Hanslick's criticism of Tchaikovsky's Violin Concerto famously described the work as:
Answer: "Stinking to the ear."
Explanation: Hanslick delivered a scathing critique of Tchaikovsky's Violin Concerto, famously declaring that the music 'stinks to the ear'.
What does the source suggest about Hanslick's view on Tchaikovsky's Sixth Symphony?
Answer: He was "lukewarm" towards the symphony.
Explanation: The source indicates that Hanslick held a 'lukewarm' view regarding Tchaikovsky's Sixth Symphony, suggesting it did not fully align with his critical preferences.
Hanslick's critique of Wagner's aesthetic centered on Wagner's reliance on:
Answer: Extra-musical ideas and programmatic content.
Explanation: Hanslick's criticism of Wagner focused on his perceived over-reliance on dramatics and extra-musical elements, which Hanslick believed detracted from music's intrinsic formal beauty.
What was the primary focus of Hanslick's criticism regarding composers like Wagner and Liszt?
Answer: Their emphasis on programmatic content and dramatic expression over musical form.
Explanation: Hanslick criticized composers like Wagner and Liszt primarily for their emphasis on programmatic content and dramatic expression, which he felt overshadowed musical form.
What does the source imply about Hanslick's view of music history?
Answer: It truly started with Mozart and reached its peak with Beethoven, Schumann, and Brahms.
Explanation: Hanslick's perspective suggested that musical history effectively began with Mozart and reached its zenith with Beethoven, Schumann, and Brahms.
Eduard Hanslick died in Prague in 1904.
Answer: False
Explanation: Eduard Hanslick died in Baden, Austria, on August 6, 1904, at the age of 78.
The caption for the image of Hanslick's grave indicates it is located in the Zentralfriedhof in Vienna.
Answer: True
Explanation: The provided information states that the image caption for Hanslick's grave indicates its location in the Zentralfriedhof in Vienna.
The archival reference 'CA OTUFM 32' pertains to a collection related to Eduard Hanslick at the University of Toronto Music Library.
Answer: True
Explanation: The archival identifier 'CA OTUFM 32' corresponds to a collection concerning Eduard Hanslick held at the University of Toronto Music Library.
The German term 'Weltpolitik' refers to a focus on domestic cultural policy, which Hanslick often commented on.
Answer: False
Explanation: 'Weltpolitik' translates to 'world politics' and refers to foreign policy. The source does not indicate Hanslick frequently commented on domestic cultural policy using this term.
The source lists *Die moderne Oper* (1875-1900) as one of Hanslick's published German works.
Answer: True
Explanation: The source material confirms that *Die moderne Oper* (1875-1900) is among the published German works attributed to Eduard Hanslick.
Eduard Hanslick died at the age of 78 in which location?
Answer: Baden, Austria
Explanation: Eduard Hanslick passed away at the age of 78 in Baden, Austria.
Which of the following is NOT listed as a work or publication associated with Hanslick in the source?
Answer: Symphonies of the Great Masters
Explanation: The source lists *Vom Musikalisch-Schönen*, *Aus meinem Leben*, and *Die moderne Oper* among Hanslick's works, but not 'Symphonies of the Great Masters'.
What does the archival reference 'CA OTUFM 32' signify?
Answer: An identifier for a collection related to Hanslick at the University of Toronto Music Library.
Explanation: The archival reference 'CA OTUFM 32' serves as an identifier for a collection pertaining to Eduard Hanslick housed at the University of Toronto Music Library.
What is the significance of Hanslick's early legal education mentioned in the source?
Answer: It provided him with analytical skills that informed his critical writing.
Explanation: Hanslick's legal education is significant as it likely equipped him with analytical skills that enhanced the rigor and depth of his music criticism.