By Karol Berger
What, if something, has artwork to do with the remainder of our lives, and specifically with these moral and political matters that topic to us so much? Will artwork created this present day be more likely to play a task in our lives as profound as that of the simplest paintings of the previous? A concept of artwork shifts the point of interest of aesthetics from the conventional debate of "what is art?" to the enticing query of "what is paintings for?" Skillfully describing the social and old state of affairs of artwork this day, writer Karol Berger argues that track exemplifies the present of paintings in a thorough, acute, and revealing type. He additionally uniquely combines aesthetics with poetics and hermeneutics. delivering a cautious synthesis of a large breadth of scholarship from paintings historical past, musicology, literary stories, political philosophy, ethics, and metaphysics, and written in a transparent, obtainable kind, this ebook will entice somebody with a significant curiosity within the arts.
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Extra resources for A Theory of Art
71 The old church music was perfected by Palestrina, whose art was pure harmony: Without adornment and without the impetus of melody, chord follows upon chord; most of them are perfect consonances, whose boldness and strength stir and elevate our spirits with inexpressible power. Â . "76 "Our mysterious urge to identify the workings of this animating natural spirit, and to discover our essence, our other-wordly abode in it, which gives rise to the pursuit of knowledge, lay also behind the haunting sounds of music, which described with increasing richness and perfection the wonders of that distant realm.
Instead, he sees the dignity of abstract music simply in its being a product of a creative human mind. "101 In fact, as Carl Dahlhaus noted,102 Hanslick took pains in subsequent editions of his book to remove all passages that still spoke the language of the romantic metaphysics of absolute music, in particular, the dosing passage which in the first edition contained the following 41 42 sentences: "Music affects him [the listener] not merely and absolutely through its own beauty, but also as the sounding copy of the great cosmic motions.
But, as we already know, legends testifying to this miraculous power were never forgotten and constituted a standard repertory of the topic of laus musicae throughout the Middle Ages without anyone drawing serious practical consequences from them. What happened in the midsixteenth century that allowed the representation of passions to challenge the embodying of harmony in a serious and practical way for the first time and to become the dominant aim of music-making? Without pretending to offer an Â < previous page < previous page page_129 page_13 next page > next page > Page 13 PART I AESTHETICS: THE ENDS OF ARTWORKS Â < previous page < previous page page_13 page_130 next page > next page > Page 130 exhaustive explanation of such a profound shift, one that reorganized the aims and means of the whole musical practice, one might single out two important causes.
A Theory of Art by Karol Berger