Hanslick With Feeling :: Art Poetry Papers

Hanslick With FeelingAbstractAmong most contemporary philosophies of art, Eduard Hanslicks Vom Musikalisch-Schnen is regarded as an irredeemably formalistic tract denying each aesthetic relevance of feeling in the aesthetic appreciation and discussion of medication. Challenging this position, I show that Hanslicks outlook is consistent with an expressiveness in medical specialty that disregard be appreciated and discussed aesthetically in relevant metaphorical terms which reveal how the music looks and what its beauties are .RsumParmi les philosophies de lart contemporain, le Vom Musikalisch-Schnen dEduard Hanslick est considr comme un characteristic formaliste strict, qui nie toute pertinence esthtique du sentiment dans lapprciation et la discussion sur la musique. Malgr cette prise de position, je vais montrer que le point de vue de Hanslick nexclut pas une expressivit musical comedye sujette une apprciation et une discussion esthtiques en termes mtaphoriques pertinents, qu i 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 Beautiful is an irredeemably formalistic tract.1 It vehemently denies that the aesthetic snap 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 adept characteristics.I think that this contemporary view of Hanslicks alleged formalism may be due in part to his vigorous and oft repeated self-control 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 theory 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 about music--namely, that it has human regional qualities. But in performing this service it has rendered itself obsolete. We have no encourage 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 too hasty inference from his conviction that (1) from all customary appeals to feeling, we can derive 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 immediate manifestation of feeling.