Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

Published under the auspices of The World Institute for Advanced Phenomenological Research and Learning, 19 essays document the April 1998 international congress held at Harvard University. They ponder on such topics as the phenomenology of the experience of enchantment, Leonardo's enchantress, the ambiguous meaning of musical enchantment in Kant's Third Critique, art and the reenchantment of sensuous human activity, the creative voice, the allure of the Naza, Henri Matisse's early critical reception in New York, Zizek's sublimicist aesthetic of enchanted fantasy, (...) and enchantment in Baroque festive court performance in France. There is no subject index. Annotation copyrighted by Book News Inc., Portland, OR. (shrink)

In his article untitled Messages in Art Jerrold Levinson discusses the idea of a message behind a work of art. He argues that despite certain disclaimers put forward by artists it is „hard to deny that artworks (...) very often do have messages, and far from inexpressible ones”. From given examples it would seem that Levinson assumes that musical work just as other artworks sometimes generate messages and that in order for a work of music to be successful in (...) expression this message should be comprehensible and certainly not incoherent. The author of this paper draws on Levinson's “Messages in Art” as well as his “Music as Narrative and Music as Drama” to explore further the issues mentioned above. In particular the author argues that seeing musical works through the message it may generate is somewhat reductive and that musical work as well as other artworks are prone to abiding by an aesthetic code and therefore even when they allow for interpretation in terms of messages or morals these messages are incoherent or vague at best. (shrink)

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

Music teachers are often inclined to advocate the aesthetic value of music that is uncritically propagated by their conservatory training.1 Consequently, a host of misleading assumptions that music is a "fine" art that exists solely to promote aesthetic experience is simply taken for granted as the benefits of art and music education—thus ignoring the differences of purpose between school music and university-level training. Just offering routine musical activities and performances is thereby assumed to kindle students' (...) aesthetic appreciation. Whether the experiences provided have led to an enriched life of playing and enjoying... (shrink)

Issues about the nature and ontology of works of art play a central part in contemporary aesthetics. But such issues are complicated by the fact that there seem to be two fundamentally different kinds of artworks. First, a visual artwork such as a picture or drawing seems to be closely identified with a particular physical object, in that even an exact copy of it does not count as being genuinely the same work of art. Nelson Goodman describes such works as (...) being “autographic.” Second, other artworks such as musical or literary works seem to be copyable without any such limitations: for example, two identical copies of a novel could each equally be a genuine instance of that novel; such works are “allographic,” in Goodman’s terminology. Nevertheless, it seems clear enough that a deeper understanding of both kinds of artworks requires the pursuit of analogies or similarities between them, in spite of their differences. Any such analogies that may be found will provide critical tests for more general theories about the nature of artworks. I show how to resolve such analogies for the orientational concept of inversion. (shrink)

This article seeks to understand the social and cultural factors that led to the introduction of music and art education in public schools, a process that began in the middle decades of the nineteenth century. Based on archival material, including institutional catalogues, school board reports, magazine articles, and tracts, I demonstrate that music and art held varied meanings in this period, one of the most important of which was denominational competition. One major element in a nationwide promotion of (...) the arts in the mid-nineteenth century was the revitalized Protestant contest for religious adherents in the wake of Catholic immigration. A second important, and often overlooked, aspect of music and art education was its vocational implications. Although some historians have relegated women's study of music and art to the reproduction of elite status, a significant aspect of these studies was vocational. In a world in which limited occupations were open to women, skill in music and art expanded women's options and, for some, made financial independence possible. In addition, although many of the factors involved in the rise of music and art education?such as nationalism, refinement, and health?were nongendered and applied to both women and men, the repercussions of these programs were quite gendered and may add to our understanding of the process by which the teaching force was feminized. (shrink)

The Postlude, written for this edition, looks back at the predictions made more than twenty-five years ago and speculates about what the coming decades may hold ...

Incompletion is an essential condition of cultural history, and particularly the idea of the fragment became a central element of Romantic art. Through its resistance to classicist ideals it continued being of high relevance to the various strands of modernist and contemporary aesthetics. The fourteen essays in this volume, based on the 2017 Stockholm conference of the International Association for Word and Music Studies (WMA), for the first time address incompletion in a wide range of literary and musical texts, (...) from Baudelaire and Flaubert through Tolstoy and Henry James to Bachmann, Jelinek and Janet Frame, from Nietzsche and Chopin through Russolo and Puccini to Rihm and Kurtàg. Two further essays deal with topical general issues in the field of word and music studies. (shrink)

Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The (...) stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice. (shrink)

This article sheds light on the relationship between religious philosophy and music to emphasize the formulation of religious emotions in art songs. This study's theoretical framework is based on the "Theory of Religious Philosophy and Music" Using these concepts, this paper explores the religious feelings associated with German and Austrian Art Songs by Bach and Gounod's "Ave Maria." The religious emotions of connectedness with God, serenity and love, faith in the heavens and angels, and the assistance of Christ (...) and the Virgin Mary in "Ave Maria" are ultimately a means of bridging music and religious philosophy. (shrink)

Odour-sound correspondences provide some of the most fascinating and intriguing examples of crossmodal associations, in part, because it is unclear from where exactly they originate. Although frequently used as similes, or figures of speech, in both literature and poetry, such smell-sound correspondences have recently started to attract the attention of experimental researchers too. To date, the findings clearly demonstrate that the majority of non-synaesthetic individuals associate orthonasally-presented odours with various different sound properties, e.g., pitch, instrument type, and timbre, in a (...) non-random manner. What is more, these auditory-olfactory associations exhibit a number of features that are common to other crossmodal associations, such as their consistency over time, and their bidirectionality. However, the psychological mechanism underpinning these associations in the general population remain unclear, with a number of distinct hypotheses having been put forward over the years. In this chapter, we consider auditory-olfactory associations in art and science, focusing on poetry, music composition, and performance. First, we provide examples of the use of auditory-olfactory synaesthetic metaphors in poetry, from William Shakespeare through to Romanticism, illustrating how crossmodal associations have appeared in literature for centuries. Then, we move on to focus on music composition and performance, describing a number of examples where auditory stimuli have been purposely matched with crossmodally corresponding olfactory and/or visual stimuli. Considering the scientific study of smell-sound correspondences, we review the key psychophysical studies demonstrating that, beyond the artistic context, robust and non-random crossmodal associations are also triggered in the majority of the general population. We discuss a number of hypotheses that have been put forward over the years to account for such associations, focusing on the idea that certain correspondences between olfactory and auditory stimuli are mediated by the emotional character of the component stimuli. (shrink)

China's traditional religious music is deeply rooted in the folk life and labor. Studying the influence of Confucian music aesthetics on ancient religious music and the establishment of modern music aesthetics has an important influence and the significance of learning from it. Studying the music aesthetics of Confucianism in the pre-Qin period can scientifically inherit and carry forward the traditional ritual and music civilization, combine the essence of China's traditional religious music aesthetics with (...) reality, and explore the music theory that meets the needs of today and can promote the healthy development of society. As the most popular and in-depth art form, music plays an inestimable role in the growth of contemporary college students. Firstly, this paper expounds the relationship between Confucian music aesthetics and China's ancient traditional religious music art and puts forward that we should draw nutrition from China's ancient and profound culture to improve the artistic quality of contemporary college students. Then, from the angle of ethics, it explains the deep connotation of Pre-Qin Confucian musical aesthetics, and tries to sort out its ideological system logically, hoping to expand the research of Pre-Qin Confucian musical aesthetics. (shrink)

This book considers the experience of enchantment in art. Considering the essential characteristics, dynamics and conditions of the experience of enchantment in relation to art, including liminality, it offers studies of different kinds of artistic experience and activity, including painting, music, fiction and poetry, before exploring the possibility of a life oriented to enchantment as the activity of art itself. With attention to the complex relationship between wonder in art and the programmatic disenchantment to which it is often subject, (...) the author draws on the thought of a diverse range of philosophers, sociological theorists and artists, to offer an understanding of art through the idea of enchantment, and enchantment through art. An accessible study, richly illustrated with experience - both that of the author and others - Art and Enchantment will appeal to scholars and students of sociology, anthropology, philosophy, and anyone with interests in the nature of aesthetic experience. (shrink)

Between present and past, visible and invisible, and sensation and idea, there is resonance—so philosopher Maurice Merleau-Ponty argued and so Jessica Wiskus explores in The Rhythm of Thought.

Artificial Intelligence and Music Ecosystem highlights the opportunities and rewards associated with the application of AI in the creative arts. Featuring an array of voices, including interviews with Jacques Attali, Holly Herndon and Scott Cohen, this book offers interdisciplinary approaches to pressing ethical and technical questions associated with AI. Considering the perspectives of developers, students and artists, as well as the wider themes of law, ethics and philosophy, Artificial Intelligence and Music Ecosystem is an essential introduction for anyone (...) interested in the impact of AI on music, including those studying and working in the creative arts. (shrink)

Markus Cslovjecsek, Madeleine Zulauf : Integrated Music Education - Challenges of Teaching and Teacher Training. Bern, Berlin, Bruxelles, New York, Oxford, Warszawa, Wien: Peter Lang Publishers, 2018. 418 pp., 29 fig. b/w, 2 tables.

Contents.--The theme.--What is music?--Music in nature.--Wherefore?--Law in music.--Correlations of music.--The beautifier of time.--The power of music.--Musico-therapy.--Design in design.--The altruistic art.--The social art.--The religious art.--Music and immortality.--The God of music.

Markus Cslovjecsek, Madeleine Zulauf : Integrated Music Education - Challenges of Teaching and Teacher Training. Bern, Berlin, Bruxelles, New York, Oxford, Warszawa, Wien: Peter Lang Publishers, 2018. 418 pp., 29 fig. b/w, 2 tables.

Markus Cslovjecsek, Madeleine Zulauf : Integrated Music Education - Challenges of Teaching and Teacher Training. Bern, Berlin, Bruxelles, New York, Oxford, Warszawa, Wien: Peter Lang Publishers, 2018. 418 pp., 29 fig. b/w, 2 tables.

What does it mean to get hooked by a work, whether a bestseller or a classic, a TV series or a painting in a museum? What is this aesthetic experience that makes us feel captivated? What do works of art do, and how, in particular, do they bind us to them? In "Hooked," Rita Felski builds an aesthetics premised on our attachments rather than our free agency and challenges the ethos of critical aloofness that is so much a part of (...) modern intellectuals' self-image. The result is sure to be as widely read, and as controversial, as Felski's 2015 book, "The Limits of Critique." Felski looks at several "attachment devices." One of these is "attunement"--those affinities and stirrings that often fall below the threshold of consciousness. Why, for example, are we drawn to a painting or piece of music in ways we struggle to explain, while being left cold by others whose merits we duly acknowledge? Another attachment device is "identification"--a widespread response to fiction that is often invoked by critics but usually treated as synonymous with either identity or empathy. But Felski shows that identifying has no neat fit with identity categories, and it can trigger ethical, political, or intellectual affinities that have little to do with co-feeling. What people most commonly identify with, Felski argues, are characters who are alluring, arresting, or alive, not in spite of their aesthetic qualities but because of them. This kind of identification is not limited to naïve readers or over-invested viewers, but is also a defining aspect of what scholars in the humanities do. Relatedly, academic "interpretation" emerges here as another circuit of connection: critics forge ties to the works they explicate, the methods they use, the disciplinary identities they inhabit. "Hooked" returns us to the fundamentals of aesthetic experience, showing that the social meanings of artworks do not lie encrypted in their depths, within reach only of expert critics, but are generated within the embrace of captivated audiences. (shrink)