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Das Kulturschöne: Eine Skizze zu nachromantischer Musik und ihrer Ästhetik

A largely unquestioned assumption of (musical) aesthetics holds that art should imitate nature or try to reproduce in its own sphere the effects of natural beauty on the perceiver. The paper introduces a third dimension of the concept of beauty: 'cultural beauty', designating objects of art which have aesthetic value because of their relation to the culture we live in.

The close conceptual tie between music and nature originated in the aesthetic debates of the 18th century. Even Adorno is still indebted to this basic tenet of romanticism. Compositions by Ives (Central Park in the Dark) and Cage (Concert for Piano) negate this close connection between music and nature as a place of order: They relate to the world we live in and mirror its fragmentary, chaotic reality. Therefore, only if we take them to have cultural beauty, may we understand them properly.

В книге

Muenchen: Richard Boorberg Verlag, 2007.