Tonkunst

Musical art is an archaic term in the German language for art music, which was often used in the 19th century in music history and music aesthetic representations. It probably originated from the need to grant a place among the classical arts (architecture, sculpture, painting, prose, poetry ) to the music and also recognize the composer ( = Musicians ) as a creative individual. The expressions are found for example on the inscriptions in the 1842 built Walhalla: there is about Joseph Haydn titled as "Doctor of Music ", and Beethoven as " composer ".

Today, the term is rarely used, but lives for example, continued in the name of the Lower Austrian Musicians Orchestra.

In the same context, the term clay was (not to be confused with symphonic poem, although these two terms are often used interchangeably ), was recognized as a term for a composition that had overcome the ( lower ) state of use music as art music and in addition the nobilitablen ambience of poetry was close. For which works this came into question, however, was a matter of discretion. The same was true for the expression composer, the composer of a special artistic quality, almost as a poet conceded. In this context, was also the then frequent award of composers with laurel wreaths, in analogy to the poet coronation.

Related expressions were Tonschöpfung, tone poem, tone painter (but see: tone-painting ) and sound paintings. The latter related in particular to an associative or textually related combination of visual and auditory sensations. From there, her agitated about the comparisons of doomsday frescoes Dies irae musical settings (see also: synesthesia ).

Special attention deserves the term sound architecture, which was directly related to the historicism and in metaphorical terms expressed ( " Bach's Gothic cathedrals " to refer to Bach's fugues compositions).

• Aesthetics of music