| Contents |
Introduction. Style narrow and wide ; Nietzsche and the hobbling theory ; Anarchy and commonwealth -- Part one. An outline of comparative art history. Prehistory and the orient. Prehistory and the primitives ; The orient: ancient Egypt, ancient west Asia, China, India, the Arabian world, Hebrews -- European antiquity. Crete and Mycenae ; Greece ; Rome -- The Romanesque Middle Ages. Cross sections A.D 800, 850, 900-981, 1050, 1120 -- The Gothic Middle Ages. Cross sections A.D. 1140, 1170, 1190, 1230, 1265, 1300, 1324, 1348, 1372, 1400 -- Renaissance and Baroque. Cross sections A.D. 1430, 1460, 1504, 1530, 1567, 1600, 1642, 1675, 1690, 1725 -- The latest past. Cross sections A.D. 1760, 1793, 1819, 1854, 1892, 1921-1946 -- Part two. The nature of style. The basic dualism. Ethos and pathos. The tyranny of words: classic and baroque, static and dynamic, or otherwise ; Ethos and pathos ; Realism, irrealism, naturalism, idealism -- Illustrations. The Doric temple and the Gothic cathedral ; The Delphian charioteer and the Gaul with his wife ; Leonardo's and Tintoretto's last suppers ; A Mozart rondo and a Froberger toccata ; The minuet of the French and the moon dance of the Wayeye ; Philosophic orientation -- Limitation and boundlessness. Themes. Thou shalt not and thou mayest ; Exotists, naturalists, arousers, preachers ; Zola, Ibsen, Wagner ; Greek and Nordic mythology -- Descriptiveness. Sculpture and metamorphosis ; Program music from the Bushmen to Antheil's Airplane Sonata ; Vocal and instrumental music ; Pantomimic dances ; Objective and nonobjective art ; The machine opera, Wagner's overtaxed stage, and Bach's solo sonatas -- The mixing of the arts. Poetry and music ; Goethe, Zelter, Schubert ; Music, odor, and light ; he merger of architecture, sculpture, and painting ; Music and the dance ; The Gesamtkunstwerk -- The fusion of the divine and the secular. The tumbler of our lady ; The church at night and the holy goldsmith's shop ; Worship and courtship ; Eros and the nun ; Spouse Jesus ; Chanson and chorale -- The fusion of art and life. Diorama and panorama ; Waxworks ; Daidalos and Pygmalion applause ; Loud and silent conducting -- Size and density. The wonders of the world ; Giant orchestras ; Berlioz' and Gilmore's ; Gigantic organs and orchestral instruments ; Forty-eight voice parts and scores four feet high ; Hansel and Gretel and the Symphonia domestica ; Vivaldi ; Bach ; Crowded pictures and clustered columns -- Redundancy. The problem of dance music ; Leitmotivs -- Symbols and craft. Ocular music ; Themes from words and names ; Isorhythmics ; Canon ; Craft and inspiration ; Technical manuals and aesthetical pamphlets -- Essence and appearance. Immanence and accident. A never-held dialogue ; Mathematics and canons ; Man, child, animal, flowers -- The plain and the picturesque. The finished and the unfinished ; Ruins ; Interrupted pediments ; Torsos ; The problem of restoration ; The picturesque relief ; "Vague first intentions" ; Sinuous facades ; Slimness and corpulence ; The costume ; Anatomical and gravitational dress -- Line and color. Drawing and painting ; The blue horses ; Orchestration ; Orfeo ; Dark colors and low tones ; Italian strings versus German wind instruments -- Two and three dimensions. Perspective, foreshortening, contrapposto ; Harmony and contrary motion ; Two- and three-dimensional choreography -- Presentation. The setting in architecture, sculpture, and painting ; Music thrown, or not thrown, upon a special form of presentation ; 'Amphibious music' ; The conditionality of changes in intensity and tempo ; Independence and dependence of the performer ; The problem of accidentals ; Music and architectural space ; Invisible orchestras -- Independence and dependence. Mozart's and Wagner's opposite attitude ; Interchangeability of individual's movements ; Transferability and adaptability of styles -- Close and open structures. Contour. Centripetal and centrifugal in the fine arts and the dance ; Mese and tonic ; Smooth and jagged melodies ; Brahms and Alban Berg -- Addition and unification. Repetition and variation ; Station and progression ; Symmetry ; Binary and ternary forms in msuic and the dance ; Unified houses and town planning -- Disjunction and conjunction. Decomposition and unification ; Columns with and without capitals ; Organization of the facade ; Gliding volutes ; The tirata ; One-movement symphonies and one-act operas ; Opera and music drama ; Die douce manier in the dance ; The master-and-servant motive ; The servo ridiculo ; Contrast in orchestration and coloring ; The opening of the frame ; Vistas in drivers' glasses and archways ; Insulation and encroachment ; The monument to the international postal union -- Tectonics and atectonics. Deceptive architecture ; Sham fronts ; Straight and knotted columns ; Animals as socles ; Ornament ; Graces ; India and Wagner ; Diminutions ; Deceptive cadences ; Progress and non-progress of voice parts -- Part three. The fate of style. Art and crises of history. Outer events. Discrepancies ; Kinder-Totenlieder and Eroica ; Archimedes and Beethoven ; The Thirty Years and Seven Years War ; The revolution and the Marseillaise -- Inner trends. Social, economic, political, religious, aesthetic relations -- Phases. Three examples: from 1460 to 1560. The pathos style of 1460 ; The ethos style of 1504 ; The pathos style of 1530 -- Inner divergences. Monteverdi's heroes and Carvaggio's cheats ; Zola and Wagner ; The contradictory and the contrary ; Cumulated experience -- The alternation of phases. Tidal character. Change as equilibrium ; Misconceptions of evolution ; Atavistic jumps -- Generation and personality. Heroes, masses, times ; Giotto ; Orcagna ; Nanni di banco ; Quercia ; Donatello ; Roger van der Weyden ; Mantegna ; Leonardo ; Gerard David ; Michelangelo ; Charles Lewis Fox ; Forces unknown -- Cycles. Giant cycles. Longevity of architectural styles ; Changeability of the other arts ; Giant cycles in painting, sculpture, and the dance: two and three dimensions ; In music: counterpoint and harmony ; Sectional against total perception -- The cycle of Antiquity. The Greek phase ; The Roman phase -- The cycle of the Middle Ages. The Romanesque phase ; The Gothic phase -- The cycle of the later ages. The greater Renaissance ; The Renaissance proper ; The Baroque ; The greater Romanticism and its two phases -- The trends of the cycles. From ethos to pathos ; Fugue ; Sonata ; Galliard, saraband, minuet ; Waltz ; Ballet ; Countermovement? -- The dominance of the individual arts. The prevalence of architecture ; The prevalence of music -- The dominance of individual nations. Vicariation of music and the fine arts from nation to nation ; England ; The Netherlands ; Spain ; Germany ; Italy ; France ; National, international, supranational. |
