The New Shudder: About the Fantastic of Musical Romanticism

On the Program of the Present Study
Contents
1 Concept, State of Research, Problem
	1.1 The Fantastic and the Romantic: Intentions, Extensions, and Relations of the Concepts
		Fantasy—Fantastic—Fantastic
		The Fantastic as a Characteristic of the Romantic
	1.2 Text Structures, Order Conflicts, Genre Definitions: Criticism of Structuralist Fantastic Literature Research
		Approaches to Fantastic Literary Scholarship
		The Structuralist Approach in Musicology
	1.3 Current Relevance and Deficit of Tradition in Research on the Fantastic
		The Fantastic and the Romantic at a Distance
		The Fantastic and the Musicological Research Tradition
	1.4 The Fantastic and the Infinite as Central Figures of Romantic Consciousness: A Philosophical Foundation
		The Reflectivity of Artwork and the Fantastic
		The New Shudder and the Feeling of the True
2 The Fantastic Between Nature Imitation and Poetic Truth
	2.1 Deception in Beauty as the Main Task of Artistic Fantasy in Gottfried Weber
		2.1.1 Musical Imitation Between Expression of Feeling and Painting
		2.1.2 The Masked Probable on the Opera Stage
		2.1.3 The Beautiful Veil of Imagination
	2.2 The Fantastic and the Ugly with Fink, Bouterwek, Weisse and Hand
		2.2.1 The Shrouded Clay Doll of False Imagination, or the Beautiful in the Fantastic
		2.2.2 On the Composure of Genius Against the Realm of Darkness
		2.2.3 The Romantic Magic Opera as a Phantastic Play
	2.3 The Distant Realm of Romanticism, the Fantastic and Real Life with E. T. A. Hoffmann
		2.3.1 Serapiontic Principle
		2.3.2 The Only True Opera
		2.3.3 Higher Illusion and the Fantastic Formative Power of the Recipient
	2.4 Illusion and Splendor in the Romantic Magic Opera by Spontini, Spohr, Weber, and Marschner
		2.4.1 Oriental and European Principle
		2.4.2 The Fantastic on the Stage and the Free Activity of the Imagination
		2.4.3 Truth of the Characteristic
	2.5 Tieck and Horn on the Fantastic in Shakespeare and Mozart
		2.5.1 Musical Preparations of the Fantastic
		2.5.2 With the Prescient Imagination Against the Conventions
		2.5.3 Inner Music, Sweet Shudder and the Appearance of the Infinite
3 The Fantastic Between Social Reality and Musical Progress
	3.1 The Call for Reality in Music by Brendel and Griepenkerl
		3.1.1 Claim and Reality of the First Musician Assembly in Leipzig
		3.1.2 The Opera of the Present and Musical Party Formation
	3.2 Brendel Against Lobe: For and Against Progress in Music
		3.2.1 No Progress With Gade’s A-minor Symphony
		3.2.2 Schumann’s Peri and the (Religious) Content of the Present
	3.3 Wagner and Schumann Under Suspicion of Subjectivism By Hinrichs and Pohl
		3.3.1 The Subjectivism of the Human Being
		3.3.2 Schumann’s Lack of Objectivity
		3.3.3 Schumann’s and Byron’s Manfred
		3.3.4 Reproaches, Reservations, Advocacies
		3.3.5 The Great World Pain of the Modern Man
4 Outlook: The Fantastic and Musical Modernism After 1900
References