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By Peter Kivy

Peter Kivy provides a severe exam of the 2 rival methods of realizing instrumental tune. He argues opposed to 'literary' interpretation when it comes to representational or narrative content material, and defends musical formalism. He additionally discusses interpretations of a variety of works within the canon.


Peter Kivy offers a desirable serious exam of the 2 rival methods of realizing instrumental track. He argues opposed to 'literary' interpretation by way of representational or narrative Read more...

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Extra resources for Antithetical arts : on the ancient quarrel between literature and music

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For the moment (but only for the moment) I will let it stand, and get on with the argument. Kant seemingly says in §14 that he is certain we do in fact perceive, cognitively, the form of the sound vibrations in musical tones. In §51 he says he is not sure whether we do or we don’t, but recent commentators apparently think that the statement in §14 is Kant’s true position. That being the case, we can conclude that Kant thought music was a fine art; because to be a fine art an art must be an art of the beautiful and to be an art of the beautiful it must have perceivable form.

71–2. 18 part i: the founding of formalism is ample evidence of the theoretical difficulties it posed. But what concerns me principally in the present chapter is theory at a somewhat lower level: the theory of how absolute music is to be talked about: how, in other words, it is to be interpreted to would-be listeners, or to the interpreter himself. It is obvious from even a cursory perusal of the literature that critics and theoreticians of these times felt a deep need to talk about the newly emerging instrumental idiom.

The question then comes down to what kind of perception it is that thus engages the faculties of imagination and understanding. How does perception put them in free play? , 82 (§20). ¹⁸ Ibid. (§19). 40 part i: the founding of formalism of a perceptual presentation, untainted by an extraneous conceptual or practical interest in it, we then achieve a state in which our perception is completely purged of any personal idiosyncrasies, due to experience or physical differences. That being the case, we have a right to assume that anyone who has achieved this state will feel the same pleasure we do, because they too would have been purged of anything that makes their perceptual experience different from ours.

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