I think, that all art needs an "outside of self" experience
to express it, or even visualize within one's own brain.
mando
On Oct 3, 2009, at 7:11 PM, Boris Shoshensky wrote:
"What kind of beauty is the beauty of a musical composition? It is a
specifically musical kind of beauty. By this we understand a beauty
that is
self-contained and in no need
of content from outside itself, that consists simply and solely of
forms and
their artistic combination"
Musical kind of beauty as beauty of other arts are self- contained
to a degree
and need referrals/content from outside itself and expressed
through forms and their artistic combinations.
Haslick demonstrates simplistic flat thinking. Bell is more
sophisticated.
Boris Shoshensky
To: [email protected]
Subject: Reading Kivy - Chapter One: How we got here and why
Date: Sat, 3 Oct 2009 23:28:52 GMT
(the following are the final passages from my last post --
apparently they
got
cropped off during transmission)
............................................................
Possiblly, Bell was following the thoughts of the widely read music
critic,
Eduard Haslick, who wrote:
"What kind of beauty is the beauty of a musical composition? It is a
specifically musical kind of beauty. By this we understand a beauty
that is
self-contained and in no need
of content from outside itself, that consists simply and solely of
forms and
their artistic combination"
And then "perversely", as Kivy, puts it, Bell and Fry offered the
formalism
of
this "absolute music" as the model for the visual and literary
arts. (and
apparently Fry even wrote a piece of
gibberish that sounded like Milton's "Ode on the Nativity" as an
example -
though he kept it private, perhaps knowing that it would be the
object of
ridicule)
By the end of the chapter, Kivy is ready to move on to more
recent examples
of "wrong models" ("the theme of this monograph") - though I
would question whether any kind of models at all can be useful in
the study
of aesthetics.
As he has shown us, not much progress has been made towards
defining a "meme
principe" for the beaux arts -- but at least the writers who have
addressed
the question are critics and sometimes even practitioners of the
arts, rather
than secular protestant philosphers.
And I think that's an improvement, because whatever nonsense
they're writing,
at least they can offer specific examples with which we can all become
familiar.
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