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Philosophy of Music

Philosophy of Music. Lecture 2. Aesthetic properties. Pure value: beauty, sublimity Formal: balance, grace Emotion: joyful, angry Behavioural: bounciness, sluggishness Evocative : powerful, amusing Representational: distortion, realism Second-order perceptual: purity, vividness

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Philosophy of Music

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  1. Philosophy of Music Lecture 2

  2. Aesthetic properties • Pure value: beauty, sublimity • Formal: balance, grace • Emotion: joyful, angry • Behavioural: bounciness, sluggishness • Evocative: powerful, amusing • Representational: distortion, realism • Second-order perceptual: purity, vividness • Historically-related: originality, derivativeness

  3. Artistic creativity Transfiguration Re-combination Composition Inspiration • ‘A work of art in the proper sense of that phrase is not an artifact, not a bodily or perceptible thing fabricated by the artist, but something solely in the artist’s head, a creature of his imagination.’ (Collingwood 1938) • ‘The gift which you possess of speaking excellently about Homer is not an art, but, as I was just saying, an inspiration; there is a divinity moving you, like that contained in the stone which Euripides calls a magnet.’ (Plato)

  4. Artistic content Representation Expression • ‘There is always in art a distinction between what is expressed and that which expresses it’ (Collingwood) • ‘… leave us the mode that would fittingly imitate the utterances and the accents of a brave man who is engaged in warfare or in any enforced business, and who, when he has failed, either meeting wounds or death or having fallen into some other mishap, in all these conditions confronts fortune with steadfast endurance and repels her strokes. And another for such a man engaged in works of peace.’ (Plato) • Art expresses spirit's self-understanding not in pure concepts, or in the images of faith, but in and through objects that have been specifically made for this purpose (Hegel 1820s)

  5. Artistic address Teaching Sharing an imaginative experience • ‘… the reason why men enjoy seeing a likeness is, that in contemplating it they find themselves learning or inferring’ (Aristotle) • ‘a total imaginative experience identical with that of the [artist]’ (Collingwood)

  6. Art Aesthetic qualities of non-art Creation of non-art “transforming a given raw material … carrying out a preconceived plan … realizing the means to a preconceived end” (Collingwood 1938) ‘… the growing vacuity and banalization of light music corresponds exactly to the industralizationof production.’ (Adorno1932) ‘Taste is the faculty of judging of an object or a method of representing it by an entirely disinterested satisfaction or dissatisfaction. The object of such satisfaction is called beautiful’ (Kant 1791) Content of non-art Unartistic address ‘…we did not require dirges and lamentations in the mixed Lydian, … and similar modes. But again, there are certain Ionian and also Lydian modes that are called lax.’ (Plato) ‘independent music’ that is mere skill in compilation’ (Hegel 1820s) ‘The frame of mind to which popular music originally appealed, on which it feeds, and which it perpetually reinforces, is simultaneously one of distraction and inattention. Listeners are distracted from the demands of reality by entertainment which does not demand attention either’ (Adorno)

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