By Heinrich Christoph Koch, Johann Georg Sulzer
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Extra info for Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch
A summer "Old Gold" research fellowship granted to me in 1994 by the University of Iowa greatly facilitated my completion of the project, and for this I am deeply appreciative. For his customary care in reading an initial draft of the introduction and the ensuing translations, I offer my thanks and acknowledgement to the series editor, Professor Ian Bent. Professor Eugene Wolf of the University of Pennsylvania also generously provided me with much useful criticism, and saved me from committing a few egregious errors.
Anyone who thinks that the artist must do nothing more than employ various kinds of sensations in a pleasant mix following his own taste, and that by such a play of sensations an amusing diversion may be created, such a person has a shallow conception of art. To be 2 From book 3 of Phaedrus s fables, "The Trees Under the Patronage of the Gods" ("Arbores in Deorum Tutela"). Sulzer, however, slightly altered Phaedrus's penultimate line, which in the original reads: "Nisi utile est quod facimus, stulta est gloria" (Unless what we do is useful, it is foolish).
Applied in this way, it is "form" in the Aristotelian sense of potentiality. While Sulzer does not offer us a very penetrating definition of the term in his surprisingly short article on "Anlage," he seems to have had this particular meaning in mind. Thus I have chosen to translate the term as "layout," suggestive of its etymological origin legen an, and more to the point, the general "laying out" of all possible ideas in a potential art work that will subsequently need to be "realized" and "elaborated," which is to say, selected, ordered, and refined.
Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Christoph Koch by Heinrich Christoph Koch, Johann Georg Sulzer