Abstract

The author stresses that his approach is not a philosophical one, but that he is describing art as it has historically emerged. Hans-Georg Gadamer, however, says in his preface that precisely this letting itself be shown and demonstration is “phenomenology”. In effect the author applies Greek and European arthistory to completed creations, placing his main emphasis, as befits an historian of music, on music and poetry. Poetry is that outstanding mode of speech that “names” things: what is becomes aware of itself in man; in this way it can come out into the light and be named in its “it is”—even through a single word. This naming partakes of God’s act of creation, but must accept what is given. Music, on the other hand, is attributed to the angels, who, like birds, sing and fly. Music rises above the earthly by turning away from a sensation of what is given to relations that are determined by numbers, namely the linking together of notes according to octaves, fifths and fourths, then rhythm and metre. Architecture, that “houses” us in the world, is briefly touched upon. Of fine art it is said that it takes sections of what is given and sheds light on them. The author bases this view of art on a wilful interpretation of the Aristotelian doctrine of time as the number of movement: it is this link with numbers that distinguishes time from space, that can admittedly be measured, but not counted, and can therefore properly be allocated to sensation.