What is AESTHETICS OF MUSIC? What doe AESTHETICS OF MUSIC mean? AESTHETICS OF MUSIC meaning

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What is AESTHETICS OF MUSIC? What doe AESTHETICS OF MUSIC mean? AESTHETICS OF MUSIC meaning - AESTHETICS OF MUSIC definition - AESTHETICS OF MUSIC explanation. Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license. 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. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant. Through their writing, the ancient term aesthetics, meaning sensory perception, received its present-day connotation. In recent decades philosophers have tended to emphasize issues besides beauty and enjoyment. For example, music's capacity to express emotion has been a central issue. Aesthetics is a sub-discipline of philosophy. In the 20th century, important contributions to the aesthetics of music were made by Peter Kivy, Jerrold Levinson, Roger Scruton, and Stephen Davies. However, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. In the 19th century, a significant debate arose between Eduard Hanslick, a music critic and musicologist, and composer Richard Wagner regarding whether instrumental music could communicate emotions to the listener. Wagner and his disciples argued that instrumental music could communicate emotions and images; composers who held this belief wrote instrumental tone poems, which attempted to tell a story or depict a landscape using instrumental music. Hanslick and his partisans asserted that instrumental music is simply patterns of sound that do not communicate any emotions or images. Harry Partch and some other musicologists, such as Kyle Gann, have studied and tried to popularize microtonal music and the usage of alternate musical scales. Many modern composers like La Monte Young, Rhys Chatham and Glenn Branca paid much attention to a system of tuning called just intonation. Since ancient times, it has been thought that music has the ability to affect our emotions, intellect, and psychology; it can assuage our loneliness or incite our passions. The Ancient Greek philosopher Plato suggests in The Republic that music has a direct effect on the soul. Therefore, he proposes that in the ideal regime, music would be closely regulated by the state (Book VII). There has been a strong tendency in the aesthetics of music to emphasize the paramount importance of compositional structure; however, other issues concerning the aesthetics of music include lyricism, harmony, hypnotism, emotiveness, temporal dynamics, resonance, playfulness, and color.

What is AESTHETICS OF MUSIC? What doe AESTHETICS OF MUSIC mean? AESTHETICS OF MUSIC meaning

• Report rights infringement
• published: 28 Apr 2017
• views: 71

What is AESTHETICS OF MUSIC? What doe AESTHETICS OF MUSIC mean? AESTHETICS OF MUSIC meaning - AESTHETICS OF MUSIC definition - AESTHETICS OF MUSIC explanation. Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license. 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. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant. Through their writing, the ancient term aesthetics, meaning sensory perception, received its present-day connotation. In recent decades philosophers have tended to emphasize issues besides beauty and enjoyment. For example, music's capacity to express emotion has been a central issue. Aesthetics is a sub-discipline of philosophy. In the 20th century, important contributions to the aesthetics of music were made by Peter Kivy, Jerrold Levinson, Roger Scruton, and Stephen Davies. However, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. In the 19th century, a significant debate arose between Eduard Hanslick, a music critic and musicologist, and composer Richard Wagner regarding whether instrumental music could communicate emotions to the listener. Wagner and his disciples argued that instrumental music could communicate emotions and images; composers who held this belief wrote instrumental tone poems, which attempted to tell a story or depict a landscape using instrumental music. Hanslick and his partisans asserted that instrumental music is simply patterns of sound that do not communicate any emotions or images. Harry Partch and some other musicologists, such as Kyle Gann, have studied and tried to popularize microtonal music and the usage of alternate musical scales. Many modern composers like La Monte Young, Rhys Chatham and Glenn Branca paid much attention to a system of tuning called just intonation. Since ancient times, it has been thought that music has the ability to affect our emotions, intellect, and psychology; it can assuage our loneliness or incite our passions. The Ancient Greek philosopher Plato suggests in The Republic that music has a direct effect on the soul. Therefore, he proposes that in the ideal regime, music would be closely regulated by the state (Book VII). There has been a strong tendency in the aesthetics of music to emphasize the paramount importance of compositional structure; however, other issues concerning the aesthetics of music include lyricism, harmony, hypnotism, emotiveness, temporal dynamics, resonance, playfulness, and color.