David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
Learn more about PhilPapers
Avant: Trends in Interdisciplinary Studies 3 (T):316-323 (2012)
Witold Wachowski’s brief exchange with John Zorn provides us with many valuable insights relating to the composer’s aesthetic. Zorn’s professed antipathy towards audiences, his faith in the creative instinct of the “artist,” and his belief in the transcendental nature of musical works (as a gateway into a world of “truth” and “beauty”) are all refrains commonly encountered in many interviews with the composer. Given the fact that Zorn emphasizes these themes in his very short interview with Wachowski, we can assume that these ideas form the core of Zorn’s musical and artistic aesthetic. For any person with even a basic knowledge of Western aesthetic traditions, however, these same aesthetic features and positions characterize musical institutions common to the Western art tradition, particularly the “romantic” ideal of music and composers that developed in the nineteenth century. Philosophers (most notably Hegel and Kant) along with music critics and composers (such as Friedrich Schiller, E.T.A. Hoffmann, Friedrich Schlegel, Robert Schumann, and Eduard Hanslick) all contributed to the development of a romantic musical aesthetic in the nineteenth century that emphasized the role of the artist (as a “genius” or “god-like”) who created “works” that – through purely musical relations that exist irregardless of the listener’s abilities – reveal hidden worlds of truth and beauty, worlds far-removed from the humdrum concerns of daily existence. Given the close (nearly one-to-one) correspondences between Zorn and aestheticians/philosophers of the nineteenth century, one could make the argument that Zorn holds a “romantic” view of music and art
|Keywords||aesthetic avant-garde John Zorn music romantic|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Ted Gordon (2012). John Zorn: Autonomy and the Avant-Garde. Avant: Trends in Interdisciplinary Studies 3 (T):329-343.
Kent Cleland (2011). The Temporalist Harp: Henri Bergson and Twentieth-Century Musical Innovation. The European Legacy 16 (7):953 - 967.
Ellie M. Hisama (2012). Comment on AVANT's Interview with John Zorn. Avant: Trends in Interdisciplinary Studies 3 (T):325-328.
John Bell (2003). Some New Intuitionistic Equivalents of Zorn's Lemma. Archive for Mathematical Logic 42 (8):811-814.
James H. Donelan (2008). Poetry and the Romantic Musical Aesthetic. Cambridge University Press.
Judith Irene Lochhead & Joseph Henry Auner (eds.) (2002). Postmodern Music/Postmodern Thought. Routledge.
Andy Hamilton (2007). Music and the Aural Arts. British Journal of Aesthetics 47 (1):46-63.
Joanna Demers (2010). Listening Through the Noise: The Aesthetics of Experimental Electronic Music. OUP Usa.
J. L. Bell (1997). Zorn's Lemma and Complete Boolean Algebras in Intuitionistic Type Theories. Journal of Symbolic Logic 62 (4):1265-1279.
N. Zangwill (2012). Listening to Music Together. British Journal of Aesthetics 52 (4):379-389.
Herbert M. Schueller (1977). The Aesthetic Implications of Avant-Garde Music. Journal of Aesthetics and Art Criticism 35 (4):397-410.
Hanne Appelqvist (2011). Form and Freedom: The Kantian Ethos of Musical Formalism. Nordic Journal of Aesthetics 40 (40-41):75-88.
Malcolm Budd (2008). Aesthetic Essays. Oxford University Press.
Dale Jacquette (ed.) (1996). Schopenhauer, Philosophy, and the Arts. Cambridge University Press.
Added to index2012-10-06
Total downloads19 ( #194,143 of 1,796,328 )
Recent downloads (6 months)9 ( #84,894 of 1,796,328 )
How can I increase my downloads?