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Download Antithetical Arts: On the Ancient Quarrel Between Literature by Peter Kivy PDF

By Peter Kivy

Antithetical Arts constitutes a defence of musical formalism opposed to those that could positioned literary interpretations at the absolute song canon. partly I, the ancient origins of either the literary interpretation of absolute track and musical formalism are laid out. partly II, particular makes an attempt to place literary interpretations on quite a few works of absolutely the track canon are tested and criticized. eventually, partially III, the query is raised as to what the human value 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 aim to respond to with out entice representational or narrative content material.

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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 Kant seems to be saying there that ‘‘pure’’ colors are beautiful (and the argument applies, pari passu, to sounds as well). ’’²⁶ If pure colors and sounds are beautiful, though, it must be for their consciously perceivable form, on Kant’s view. And so it would appear that Kant is not denying that we can consciously perceive, in colors and sounds, Euler’s vibrations. The third edition must be echt. Notice, however, how Kant expresses himself here, which is to say, in the passive voice. He does not say that pure colors and sounds are beautiful or that he thinks they are beautiful.

But when, however, we are attending to the musical composition, it must be functioning as something else, presumably as, at least in one respect, a fine art. And the difference must be that when we are paying attention to the composition, we are paying attention to the larger aspects of musical form; for it is form, as we have seen, that is one of the two aspects of art that together lift it above the agreeable and into the realm of the fine arts. If the two passages just cited are to be read as I have done, then it appears that I must withdraw my earlier claim, in my previous writings, that Kant had no notion at all of musical form as we understand it, but thought of musical form only as the form of the sound vibrations of musical tones.

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