By Peter Kivy
Peter Kivy provides a serious 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 various works within the canon.
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Additional info for Antithetical arts : on the ancient quarrel between literature and music
46 part i: the founding of formalism this expression of doubt raises another problem. 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.
And that being the case, ‘‘we should be led to believe that it is only the effect of these vibrating movements upon the elastic parts of our body, that can be evident to sense . . ’’⁹ The word ‘‘composition,’’ Komposition, as it is used by Kant in the musical context is going to be an important issue in a little while. But as it is necessary to read the passage just quoted, the ‘‘composition’’ referred to is the composition, that is the structure, of the individual tones themselves, not the musical composition which might be made of them.
Having determined the character of his piece, he must put himself into the emotional state that he wishes others to experience. His best course of action is to imagine some drama, happening or situation that will naturally induce the kind of state that he has in mind; and if his imagination is sufﬁciently ﬁred by this, he should at once set to work . . ²² The reason I say that the expression theory of absolute music is really part and parcel of the narrative theory, and not a rival, is the close association, in music with text, and, especially, operatic music, of musical text setting with following in the music the expressive character of the words.
Antithetical arts : on the ancient quarrel between literature and music by Peter Kivy