Aesthetics and Music by Andy Hamilton
By Andy Hamilton
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The adventure of listening
Rhythm and musical move
What modernism has intended for musical aesthetics
The relation of song to different 'sound arts'
Improvisation and composition in addition to extra conventional matters in musical aesthetics equivalent to absolute as opposed to programme track and the query of musical formalism.
Thinkers mentioned variety from Pythagoras and Plato to Kant, Nietzsche and Adorno. parts of tune coated contain classical, well known and standard song, and jazz. Aesthetics and Music makes an eloquent case for a humanistic, democratic and really aesthetic perception of song and musical figuring out. someone attracted to what modern philosophy has to claim approximately tune as an artwork shape will locate this thought-provoking and hugely relaxing e-book required examining.
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Additional info for Aesthetics and Music
However, the unity of poetry, music and dance in Ancient Greece, and the absence of a system of fine arts, illustrates a more general problem concerning the presence of music in cultures radically divergent from our own. Despite differences in its conceptualization which this assimilation shows, writers consistently refer to music - in our sense - in Ancient Greece without doubting that the concept is instantiated. This indeed seems 31 AESTHETICS AND MUSIC correct, but in the light of anthropological attitudes it is perhaps surprising.
22 AESTHETICS AND MUSIC IN ANCIENT GREECE Tonality and tuning The tonal system, developed in Western music from the seventeenth century onwards, is only an imperfect reflection of the Pythagorean vision. It uses the base of the harmonic spectrum - the first six overtones, to be precise, the fundamental, the octave, the fifth above it, the octave again, then the third and the fifth - a basis reflected in the scoring of the last chord in a Haydn or Mozart symphony, which to that extent is 'natural'.
23. Nietzsche (1999), section 14, pp. 70-1. Nietzsche's opposition between the Apollonian and the Dionysian is discussed in Chapter 3. Schaper comments that 'Plato's thought on the problems of creation, on the peculiar concreteness of the art work, on its moral implications, on the emotional involvement in it, on the sensuous character of the aesthetic experience, on art as play, and on art as belonging to the imagination, was the thought of a pioneer'. The elaboration of these concepts was left to Aristotle, whose views are in many respects completely opposed to Plato's, and who in his Poetics inaugurated aesthetics as a theoretical study (Schaper (1968), pp.