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1. hammerschmidmusic.com › portraitPortrait – Hammerschmidmusic

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   Komponist Wolfgang Hammerschmid gründete das Studio 1999 im Herzen von Grünwald. Seitdem werden hier nationale und internationale Produktionen komponiert und arrangiert.

2. www.soundtrack.net › album › mickey-blue-eyesMickey Blue Eyes - Soundtrack.Net

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   Jan 27, 2000 · Mickey Blue Eyes soundtrack from 1999, composed by Various Artists, Wolfgang Hammerschmid, Basil Poledouris. Released by Milan Records in 1999 (73138 35888-2) containing music from Mickey Blue Eyes (1999).

3. www.allmusic.com › artist › wolfgang-hammerschmid-mnWolfgang Hammerschmid Songs, Albums, Reviews, ... | AllMusic

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   Explore Wolfgang Hammerschmid's discography including top tracks, albums, and reviews. Learn all about Wolfgang Hammerschmid on AllMusic.

4. www.soundtrack.net › person › wolfgang-hammerschmidWolfgang Hammerschmid - Soundtrack.Net

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   Composer Wolfgang Hammerschmid filmography and related information on Soundtrack.Net.

5. en.wikipedia.org › wiki › Men_in_the_CityMen in the City - Wikipedia

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   Simon Verhoeven and Wolfgang Hammerschmid were responsible for the film score's composition and orchestration that involved about twenty musicians. [ 1 ] The main theme song, " Wonderful ", was written by British pop rock singer and songwriter Gary Go in January 2009 and released on 16 February 2009, as the first and debut single from his self ...

6. www.tandfonline.com › doi › fullThree Music-Theory Lessons: Journal of the Royal Musical ...

   www.tandfonline.com › doi › full

   Nov 10, 2016 · It examines three radically different music-theoretical practices, which operate with different forms of written notation and different musical instruments, and have surprisingly different purposes in mind: the monochord-based theory of Franchinus Gaffurius (1518), the siren-based theory of Wilhelm Opelt (1834) and the piano-and-score-based ...

7. People also ask

   How did Hanslick define 'pure' music?

   • In Kivy’s view, Hanslick refined Kant’s concept of formal beauty apart from its—essentially inseparable—correlation to the idea and the moral realm, thereby defining ‘pure’ music as ‘logical grammar’ or as ‘syntactical structure’.

   Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen

   musau.org/parts/neue-article-page/view/47

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   What is Hanslick's approach to musical aesthetics?

   • Rather than being located in the confined tradition of any specific author or any philosophical movement, Hanslick’s approach to musical aesthetics is highly original and was developed by means of a multifaceted engagement with numerous contemporary discourses and important contextual factors.

   Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen

   musau.org/parts/neue-article-page/view/47

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   What is a sensible aesthetic theory of 'pure' music?

   • Thus, a sensible aesthetic theory of ‘pure’ music, Hanslick continues, must truly abide by “the principle that the primary object of aesthetical investigation is the beautiful object, not the feelings of the subject” (OMB, 2; VMS, 24). As he states in the very first paragraph of the initial edition of VMS:

   Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen

   musau.org/parts/neue-article-page/view/47

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   Why did Eduard von Hartmann criticize Hanslick's formalism?

   • Eduard von Hartmann (1842–1906), for example, criticized Hanslick’s formalism—which ostensibly disavows “any deep ideal content of music” (“jeden tieferen idealen Gehalt der Musik”)—by simply stating that Hanslick attempted to develop Herbart’s original approach in greater detail (without success, of course).

   Hanslick, Kant, and the Origins of Vom Musikalisch-Schönen

   musau.org/parts/neue-article-page/view/47

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8. musau.org › parts › neue-article-pageHanslick, Kant, and the Origins of Vom Musikalisch-Schönen

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   Jun 18, 2018 · Recent scholarship on musical aesthetics, notably in analytical philosophy of music, commonly identifies the main ideas of Eduard Hanslick’s Vom Musikalisch-Schönen (“On the Musically Beautiful”, 1854) with Kant’s Kritik der Urteilskraft (“Critique of the Power of Judgment”, 1790), due to an ostensibly equivalent concept of ‘strict’ aesthetic fo...