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The affinities and differences between Schenker and Schopenhauer are more complicated. (As if to support this attitude, Schenker employs an inconsistent terminology.) It is difficult, then, to see how he could relate to the positivist vision of Hanslick. Far more crucial, he emphasizes the artistic nature of his theory, which presupposes individualistic approaches to musical works and accepts multiple analytical results. Schenker, on the other hand, holds strongly anti-progressive and anti-technological views. Hanslick is fascinated with 19th-century positivism and aspires to addressing music phenomena with scientific precision. Differing from Nicholas Cook, I find a significant point of divergence in the premises of the two intellectuals. However, Schenker’s realization of the Hanslickean vision goes only as far as confirming music’s autonomy.

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Actually, Schenker offers a technical solution to Hanslick’s formalist call (Furtwängler himself attested to its success by finding Schenker’s analysis of the Ninth Symphony free of hermeneutics). They sought to restore music to its original state by concentrating on its material reality as sound movement (Hanslick) and linear progression (Schenker).

Schenker and Hanslick shared a reactionary attitude to contemporary understandings of music. Within this context, my paper explores Schenker’s contact points with Hanslick and Schopenhauer, two intellectuals who strongly deny music’s descriptive power. In this way, justice is done to a theorist who saw himself as an artist and defender of a great intellectual tradition, and, perhaps most important, Schenker may be reintroduced to Anglo-American musicology as a historicized and culturally rich subject. Taken as a whole, these efforts seek to reunite the technical and ideological facets of Schenker’s work. William Pastille, Jamie Kassler, Kevin Korsyn, Nicholas Cook, Michael Cherlin, and Gary Don have explored his indebtedness and affinities to intellectuals from Aquinas to Kant, Goethe, and Hauptmann. The intellectual contexts of Schenker and his theories have received considerable attention in the past three decades.

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Full editorial notes within the text provide a useful resource to higher level scholars.

Contains substantial introduction, editorial notes, bibliography, chronology and glossary for aiding those new to the subject and also for highlighting the connections between Schopenhauer and other philosophers and philosophical issues.A new accurate translation providing the reader with an up-to-date version of the text.It offers an introduction, glossary of names and bibliography, and succinct editorial notes, including notes on the revisions of the text which Schopenhauer made in 18. This new translation of the first volume of what later became a two-volume work reflects the eloquence and power of Schopenhauer's prose and renders philosophical terms accurately and consistently. It gives a unique and influential account of what is and is not of value in existence, the striving and pain of the human condition and the possibility of deliverance from it. First published in 1818, The World as Will and Representation contains Schopenhauer's entire philosophy, ranging through epistemology, metaphysics, philosophy of mind and action, aesthetics and philosophy of art, to ethics, the meaning of life and the philosophy of religion, in an attempt to account for the world in all its significant aspects.