Hanslick With Feeling :: Art Poetry Papers

Hanslick With impressionAbstractAmong most contemporary philosophies of art, Eduard Hanslicks Vom Musikalisch-Schnen is regarded as an irredeemably formalistic tract denying any(prenominal) aesthetic relevance of tactile sensation in the aesthetic appreciation and treatment of medicament. Challenging this position, I show that Hanslicks outlook is consistent with an expressiveness in unison that can be appreciated and discussed esthetically in relevant figurative terms which reveal how the medicine looks and what its luluies are .RsumParmi les philosophies de lart contemporain, le Vom Musikalisch-Schnen dEduard Hanslick est considr comme un trait formaliste strict, qui nie toute pertinence esthtique du sentiment dans lapprciation et la discussion tire la musique. Malgr cette prise de position, je vais montrer que le point de vue de Hanslick nexclut pas une expressivit musicale sujette une apprciation et une discussion esthtiques en term mtaphoriques pertinents, qui rvlent lallure de la musique et quelles en sont les beauts .The consensus of most contemporary philosophers of art is that Hanslicks On the Musically scenic is an irredeemably formalistic tract.1 It vehemently denies that the aesthetic apprehension of instrumental music includes feeling either of the composer or of the listener. Hanslick, so it is widely believed, acknowledged as aesthetically relevant only musics formal or technical characteristics.I judge that this contemporary ingest of Hanslicks alleged formalism may be callable in part to his vigorous and oft repeated denial that music could in any way represent or express the garden-variety emotions or ordinary emotions. It hardly follows from this that for Hanslick the only possible aesthetic apprehension of music would be its formal aspects. As Beardsley has noted, denial of the expression surmisal of music does not necessarily result in formalism an expressive theory of music is possible.The Expression Theory has called our attention to an important fact intimately music--namely, that it has human regional qualities. But in performing this service it has rendered itself obsolete. We wipe out no further use for it. ... This music is joyous is plain and can be defended. This music expresses joy adds nothing except unnecessary and unanswerable questions.2 The interpretation of Hanslick as a musical formalist may be due to an all excessively hasty inference from his conviction that (1) from all customary appeals to feeling, we can deign not a single musical law. Yet, earlier Hanslick stoutly maintains (2) the view that the ultimate worth of the beautiful is always based on the nimble manifestation of feeling.