By Peter Kivy
Antithetical Arts constitutes a defence of musical formalism opposed to those that could positioned literary interpretations at the absolute song canon. partially I, the old origins of either the literary interpretation of absolute track and musical formalism are laid out. partially II, particular makes an attempt to place literary interpretations on a variety of works of absolutely the tune canon are tested and criticized. ultimately, partially 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 might be thought of an incredible one for philosophers of paintings to contemplate, and to attempt to respond to with out entice representational or narrative content.
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Extra info for Antithetical Arts: On the Ancient Quarrel Between Literature and Music
I still in no way doubt [it] . . ’’ But in §51 he is far less conﬁdent than that. He says: ‘‘we cannot conﬁdently assert whether a colour or a tone (sound) is merely an ⁶ Kant, Critique of Aesthetic Judgement, p. 66 (§14). Cf. 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 .
That Kant was the major source of formalism in philosophy of art I have no doubt. That Kant himself was a formalist, in the sense of someone who thinks form is the only art-relevant property, is totally false, as shall become apparent later on in this chapter. First, though, to the debate over musical form. What is puzzling to all readers of Kant, when they come to the question of musical form, is the peculiar candidate Kant seems at least designs à la grecque 31 to propose for it in the ﬁrst place.
Been able to consult the writings of August Apel. The view is attributed to him by Peter Lichtenthal (1780–1853). , 124. , 126–7. 20 part i: the founding of formalism This method of analysis or description of absolute music was carried to its extreme, its absurd extreme, one is tempted to say, and made quite explicit by Jerome-Joseph de Momigny, in his Cours complet d’harmonie et de composition, of 1803, where he actually contrived an operatic text, in French, of a lamenting Dido, and put it to the ﬁrst movement of Mozart D minor Quartet (K.