Music aesthetics

table of contents

the subject of the music aesthetics

the the subject of the music aesthetics results from the definition of the appropriate discipline of philosophy: Since the conception by A. G. Tree garden generally concerns itself the aesthetics with the sinnlichen realization, with the realization of art and beautiful one in the special one and with the understanding and the evaluating of works of art in the historical connection. The music aesthetics investigates thus musical (in the broadest sense acoustic) phenomena in these connections on their principles and categories.

antique ones

even if the term before that 18. Century uses not yet, to have humans since more jeher over its mental products reflected, thus also over the music created by them. In the myths the antique one plays the music and its effect often an important role, as for instance in the myth of Orpheus. A special meaning receives the music in the philosophy of the Pythagoreer: To them harmony and number were considered to being ends, the music and its interval conditions as basic principle as paradigm of this all-comprehensive order. For Platon music is in its dialogue „Symposion “as techné (in the sense of manipulation art-full-relating to crafts) only passage station for the realization being ends, because it can cause the love for the Sinnlich beautiful one. In Platons „Politeia “(dt. “The state”) is seen the music as instrument of the education of the members of the community, is subject as such however close delimitations in contents and execution. Also with Aristoteles the music is main means for the purpose of the influence of a character and soul: Since eidos (the Urbild) in the soul of the manufacture is appropriate for the art, is mimesis (the imitation) with works of art related to the human soul movements and Affekte. Therefore also music can affect the Affekte of humans, ideally to positives.

the Middle Ages

the music-aesthetic expressions of the medieval philosophers exclusively refer to the liturgical music. Stand in the early Middle Ages (e.g. with Boethius) thoughts in the foreground, which interpret music as mathematical science and award their beauty if them illustrate the harmony of the cosmos. Then also music-practical considerations move later into the foreground: With introduction of the Roman Liturgie to the Frankish service to 9. Century one thought about the position of the singing in the service. United itself all philosophers are in the opinion that the singing can convey the word of God more effectively than language alone. That means in addition, that music is seen only as „means of transport “and not independently exist can. Only in connection with liturgical text music has its existence authorization. So few it composer personalities individual in the Middle Ages gives, then there is not also the idea „of the absolute music “, which can exist independently of a purpose. With the arising of the notation and the mehrstimmigen singing in the 11. Century is reflected increasingly over the kind of the composition. Beside others sketched Guido of Arezzo one - the grammar of the language ajar - to theory about how melodies must be developed, so that they are perfect. The considerations are numerous for the practice of the Organumgesangs, the most well-known are „the Musica enchiriadis “from that 9. Century. The controversy between representatives that of acre became important antiqua and the acres new facts in 14. Century to make music between „the new “kind from lay-practical needs developed (development of the Motette as informal form of making music with larger rhythmic liberties) and „the old “kind, which appointed itself to the strict liturgical making music way.

modern times

of the human 15. Century brings a new interpretation of the antique authors and also a new regulation of the value musical creation. The mathematical-speculative view on the music steps into the background in favor of a view, which places the music in connection with the human life. Zarlino points: The determination of the music is to be spent it „in leisure and far by the everyday life the time and be occupied thereby nobly. “ One „new simplicity “in the composition technology demands the Florentiner Camerata end 16. Century. The unit of language and music, existing in the antique one (alleged), is regarded here as ideal. Thus priority is to give before complex productions of polyphoner compositions for the members of the Camerata Monodie. In the clearing-up the separation is drawn between science and art. The term of the artistic subjective taste comes now into the discussion, contrary to the objective realization. Phenomena of nature know model of the music are, cross however pure illustration. Showing on the romance comes in the center 18. Century the term of the expression up, which is to express inexpressible. With this aesthetic concept the pure instrument valley music moves before the vowel music, since only by those those can be represented increasingly abstract contents of music appropriately.

18. and to 19 century

new music


see also

Musikpädagogik, music sociology, music psychology

 

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