Kritika “čistog” oblika: nauk o muzičkim oblicima između kompozicionog, pedagoškog i teorijsko-analitičkog znanja o muzici
Critique of “Pure” Form: Theory of Musical Form between Compositional, Pedagogical, and Theoretical-Analytical Music Knowledge

Summary/Abstract: The Formenlehre was formalized in the first half of the 19th century by A. B. Marx as a part of his compositional theory, which was supposed to “transmute the most thorough and comprehensive knowledge of Art into the consciousness and sensibilities of the pupil, and immediately invite him to artistic activity.” The further fate of this discipline is the transfer from pedagogical-compositional interest to the general musical-pedagogical field, wherein it occupies the position of one of the key components of the general fund of theoretical knowledge about music within high school and academic curricula. The aim of this article is to recall the basic postulates of Marx’s treatise, comparing them with the interpretations of his title determinant – form – in later versions by other theoreticians, but also to point out the implications of the basic postulates of form that were consulted in other contexts, primarily theoretical-analytical and aesthetic.

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