By Peter Kivy
Antithetical Arts constitutes a defence of musical formalism opposed to those that might placed literary interpretations at the absolute tune canon. partially I, the ancient origins of either the literary interpretation of absolute song and musical formalism are laid out. partially II, particular makes an attempt to place literary interpretations on numerous works of absolutely the track canon are tested and criticized. eventually, partly III, the query is raised as to what the human importance of absolute track is, if it doesn't lie in its representational or narrative content material. the answer's that, as but, philosophy has no resolution, and that the query can be thought of a major one for philosophers of paintings to contemplate, and to aim to respond to with out entice representational or narrative content material.
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Extra info for Antithetical Arts: On the Ancient Quarrel Between Literature and Music
Not that it belongs to the form as consciously perceived but to the form as cause of the sensation. e. the vibrations, are affected by extraneous sensations. And the same is true of pure and impure sensations of sound. So pure sensations of color and sound are like perceptions of the beautiful in that they are free of extraneous inﬂuences. And for that reason we mistakenly take pure sensations of color and sound to be ²⁶ ²⁷ ²⁸ ²⁹ ³⁰ Critique of Aesthetic Judgement, 67 (§14). Critique of the Power of Judgment, trans.
For one thing, it had a poetic text, and there was never any doubt that poetry was a ﬁne art: indeed it was the paradigm case. For another, what the ﬁne arts were supposed to have in common, as their deﬁning principle, was representation. And vocal music, since the end of the sixteenth century, had been understood as a representational art: it represented the passionate tones of the human speaking voice, as we have seen. ), Essays in the History of Aesthetics (Rochester: Rochester University Press, 1992).
Designs à la grecque 43 Two things about this passage are extremely important. First, most important, and most obvious, Kant is using the word ‘‘composition’’ here in just the way we would. He is clearly not referring to the composition of musical tones themselves, as he was in the passage quoted previously, but to the composition which musical tones are used to make. This is clear from his juxtaposition of composition, in music, to design in painting. Design is the large outline, the form, if you will, of a visual artwork.