This volume, in the series Cambridge Readings in the Literature of Music, is an anthology of original German, French and English writings from the period 18511912.This volume, in the series Cambridge Readings in the Literature of Music, is an anthology of original German, French and English writings from the period 18511912. Throughout the second half of the nineteenth century music continued to be a subject to which philosophers, psychologists, scientists and critics repeatedly addressed themselves.This volume, in the series Cambridge Readings in the Literature of Music, is an anthology of original German, French and English writings from the period 18511912. Throughout the second half of the nineteenth century music continued to be a subject to which philosophers, psychologists, scientists and critics repeatedly addressed themselves.This volume, in the series Cambridge Readings in the Literature of Music, is an anthology of original German, French and English writings from the period 18511912. Throughout the second half of the nineteenth century music continued to be a subject to which philosophers, psychologists, scientists and critics repeatedly addressed themselves. Some of the philosophical approaches followed the tradition of the German speculative philosophy of the late eighteenth and early nineteenth centuries. Elsewhere the new 'scientific' climate of the nineteenth century left its mark on the work of scientists and psychologists interested in the impact of acoustical stimuli on the human mind or in the role of music and song in the prehistory of mankind.Part I. German aesthetics of music in the second half of the nineteenth century: 1. Music as an autonomous being; 2. Music as an expressive force; 3. The eclectic tendency; Part II. Aesthetics of music in France and England: 4. General works; 5. The Impact of Wagner; 6. England; Part III. Music and positivist thought: 7. Psychology of music and the theory of empathy; 8. Theories and speculation about l“6