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<![endif]--><!--StartFragment-->Dear
Michael,
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Gary W. Don wrote a dissertation on the topic: “Music and Goethe’s Theories of Growth” (Ph.D. diss., University of Washington, 1991). A few pieces by John Covach touch on the broader reception of Goethe's scientific ideas at the turn of the twentieth century,
notably “The Sources of Schoenberg’s ‘Aesthetic Theology,’” <i>19th-Century Music</i> 19/3 (1996): 252–262. And there have been several pieces about Goethe's influence on Schenker and Schoenberg in particular, the most notable of which is Severine Neff, “Schenker,
Schoenberg, and Goethe: Visions of the Organic Artwork,” in <i>Schenker-Traditionen</i>, ed. Martin Eybl and Evelyn Fink-Mennel (Vienna: Böhlau, 2006), 29–50.</div>
<div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">
<br>
</div>
<div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">
Matthew Arndt</div>
<div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">
Assistant Professor
<div>The University of Iowa School of Music</div>
<div>2700 University Capitol Center</div>
<div>Iowa City, IA 52242</div>
<div>319-353-2181<br>
<a href="mailto:matthew-arndt@uiowa.edu">matthew-arndt@uiowa.edu</a><br>
<br>
</div>
</div>
</div>
<br>
<div>
<div>On May 16, 2013, at 9:25 PM, Gregory Karl wrote:</div>
<br class="Apple-interchange-newline">
<blockquote type="cite">
<div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">
<div>Hi Michael,</div>
<div><br>
</div>
<div>If I remember correctly, this article uses the <i>Urpflanze</i> as its prime example of bad science. It may cite some useful sources:</div>
<div><br>
</div>
<div>David L. Montgomery , "The Myth of Organicism: From Bad Science to Great Art,"
<i>The Musical Quarterly</i>, 75 (1991) </div>
<div><br>
</div>
<div>Ruth Solie's "The Living Work: Organicism and Musical Analysis," (<i>19th-Century Music</i> 4 (1980)) might have some good leads. It's been a while; I just don't remember.</div>
<div><br>
</div>
<div>Bye now,</div>
<div>Greg Karl</div>
<div>Jay NY</div>
<div><br>
</div>
<div><br>
</div>
<div><br>
</div>
<br>
<div>
<div>On May 16, 2013, at 10:31 AM, Michael Morse wrote:</div>
<br class="Apple-interchange-newline">
<blockquote type="cite">
<div dir="ltr">Dear Folks,
<div><br>
</div>
<div> I've been at least tangentially intrigued by the influence of Goethe on musicians and music theory for quite a while. Anton Webern's letter to his friends Josef Humplik and Hildegard Jone about the conception of his
<i> Variations for <span style="font-size: 12pt;">Orchestra </span></i><span style="font-size: 12pt;">explicitly ties that work to Goethe's
</span><i style="font-size: 12pt;">Urpflanze</i><font size="3"> notion. And I recently read a critical but very respectful study by Helmholtz of the contemporary status, ca. 1860, of Goethe's scientific ideas. It made me wonder; has anyone tried to synthesize
the scattered but clearly considerable influence of Goethe's scientific ideas on music theory and practice? Are there studies you can recommend about particular musicians or theorists? Finally, has anyone </font>here<font size="3"> ever been involved with
this set of issues?</font></div>
<div><span style="font-size: 12pt;"><br>
</span></div>
<div><span style="font-size: 12pt;">Thx,</span></div>
<div><span style="font-size: 12pt;"><br>
</span></div>
<div><span style="font-size: 12pt;">Michael Morse</span></div>
<div><span style="font-size: 12pt;">Trent University </span></div>
<div><span style="font-size: 12pt;">Peterborough, Oshawa</span></div>
<div><br>
</div>
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