By Peter Kivy
Antithetical Arts constitutes a defence of musical formalism opposed to those that could placed literary interpretations at the absolute track canon. partly I, the historic 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. eventually, partially III, the query is raised as to what the human importance of absolute song is, if it doesn't lie in its representational or narrative content material. the answer's that, as but, philosophy has no solution, and that the query will be thought of an immense one for philosophers of paintings to think about, 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
We feel that artworks have ideational content in a very different way. We feel that their ideational content, unlike that of non-artistic means of expression, is somehow ineffable: you cannot express what an artwork ‘‘says’’ in any other form than that in which the artwork ‘‘says’’ it. ¹² Critique of Aesthetic Judgement, 175–6 (§49). designs à la grecque 37 Artworks do indeed have manifest content, susceptible of paraphrase, and this content does indeed perform a vital function: it sets going a train of aesthetic ideas.
That one could do that, with regard either to color vibrations or sound vibrations, he says, ‘‘. . I very much doubt . . ’’ Thus, it seems, musical sound cannot be perceived as form, so music cannot be a ﬁne, but must be an agreeable art. There is a catch, however, namely, that in the third edition of the Critique of Judgment, ‘‘I very much doubt’’ is altered to read: ‘‘which I ⁵ Immanuel Kant, Critique of Judgment, trans. J. H. Bernard (New York: Hafner, 1951), 60 (§14). designs à la grecque 33 still in no way doubt .
Kant’s notion, as I read him, is motivated by these considerations. If the content of an artwork were merely what I would call its ‘‘manifest’’ content, susceptible of paraphrase, then there would be nothing special about it. You could get it from any number of other forms of expression, and that would leave artworks with no special role or function of their own. But our intuitions run in a different direction. We feel that artworks have ideational content in a very different way. We feel that their ideational content, unlike that of non-artistic means of expression, is somehow ineffable: you cannot express what an artwork ‘‘says’’ in any other form than that in which the artwork ‘‘says’’ it.
Antithetical Arts: On the Ancient Quarrel Between Literature and Music by Peter Kivy