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In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment ( plaisir and jouissance ) of music.
3 cze 1999 · The book advances a theory of musical value and of the cultural conditions that enable a musical tradition to emerge and to convey the weight of significance that we hear when we listen to music. Listening is a kind of ‘moving with’, to be illuminated through the comparison with dancing.
Among the topics that have benefited from this reconsideration are the nature of music’s aesthetic value, music’s claim to autonomy, and the ontology of music. Table of Contents. Historical Background ; Adorno and Standard Criticisms ; Defending Popular Music ; Race, Gender, and Expressive Authenticity ; Ontology of Music ; References and ...
Most influential and contemporary philosophers of classical musical aesthetics focus almost exclusively on tonal classical music (including music that achieves a tonal center by means other than tonal harmony, as found in the music of Stravinsky, Debussy, and Bartok).
22 paź 2007 · Philosophy of music is the study of fundamental questions about the nature and value of music and our experience of it. Like any “philosophy of X,” it presupposes knowledge of its target.
19 paź 2023 · To fully comprehend how music achieves its aesthetic effect, we must grasp what the nonverbal, non-spatial, temporal process of music must do to render in sound the “indeterminately objective double mimesis” that expresses the significant emotional life of rational animals.
1 kwi 2015 · First and foremost is music’s musical value, or the value of music as music, which is a species of artistic value, where artistic value is understood to include, but not be exhausted by, aesthetic value.
