By Peter Kivy
Antithetical Arts constitutes a defence of musical formalism opposed to those that could positioned literary interpretations at the absolute track canon. partly I, the ancient origins of either the literary interpretation of absolute tune and musical formalism are laid out. partly II, particular makes an attempt to place literary interpretations on numerous works of absolutely the song canon are tested and criticized. ultimately, partly III, the query is raised as to what the human value of absolute tune 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 might be thought of a huge one for philosophers of paintings to contemplate, and to attempt to reply 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
How can judgments of the beautiful, which are based merely upon our feeling of pleasure, and therefore like the kinds of judgment we call purely subjective, also be judgments that seem to demand universal assent, as if they were objective judgments, based on commonly held concepts? ’’¹⁶ But how can this demand be justiﬁed if the judgment is based merely on the judger’s personal feeling of pleasure? That is Kant’s problem, as it had been David Hume’s and others of his British predecessors’. The answer to it that Kant gives is complicated, and fraught with interpretational difﬁculties.
Immanuel Kant, Critique of Judgment, trans. Werner S. Pluhar (Indianapolis: Hackett, 1987), 70 (§14): ‘‘which, after all, I do not doubt at all . . ,’’ and Immanuel Kant, Critique of the Power of Judgment, trans. Paul Guyer and Eric Matthews (Cambridge: Cambridge University Press, 2001), 109 (§14), ‘‘about which I have very little doubt . . ’’ ⁷ See, especially, Theodore E. , The Notion of Form in Kant’s ‘‘Critique of Aesthetic Judgment’’ ( The Hague: Mouton, 1971). ’’⁸ The indecision is expressed in the form of a kind of informal dilemma.
For form, in the Kantian system, is the bearer of beauty, and the ﬁne arts, for Kant, are the beautiful arts: sch¨one Kunst. In other words, no perceivable form, no beauty; no beauty, no ﬁne art, no sch¨one Kunst. This is, of course, the move to formalism that so characterizes Kant’s philosophy of art, and has been identiﬁed by many as the source of modern formalism, in music particularly and in the ﬁne arts in general. That Kant was the major source of formalism in philosophy of art I have no doubt.
Antithetical Arts: On the Ancient Quarrel Between Literature and Music by Peter Kivy