By Peter Kivy
Track, Language, and Cognition is the 3rd number of Peter Kivy's seminal papers within the philosophy of tune. In essays which span his earliest paintings within the box and his newer contributions to journals, anthologies, and convention lawsuits, Kivy considers the foundation of track, the medium of expression in opera, the function of tune in movie, the character of an "ideal" functionality, and the query of even if absolute track has a that means, between different matters. wealthy with serious research and educated by means of the heritage of either philosophy and tune, this quantity could be of curiosity to somebody who likes not just to hear track, yet to consider it to boot.
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Extra info for Music, Language, and Cognition: And Other Essays in the Aesthetics of Music
Handel’s Operas 41 If the point of Dante’s poem is simply to present the Thomist position, then there seems little point in reading the poem rather than reading the Angelic Doctor himself, or one of the excellent modern textbooks on the subject. But if the point of The Divine Comedy, rather, is to make us feel like Thomists, to make us feel the Thomist’s emotions, as it were, by presenting Thomism in the manner of poetry (whatever that might be), then it has a role that neither Thomas nor his commentators aspired to: a role exclusive to the arts.
Handel’s dramatis personae were made for the da capo aria, and it for them. (There is a supreme irony, therefore, in the notion that, for the sake of dramatic verisimilitude, the da capo arias should be truncated: performed without the second section or the da capo, a procedure that characterized early twentieth-century attempts to revive Handel’s operas in Germany and elsewhere. ) This, then, was my strategy, in Osmin’s Rage, for answering the charge that the da capo aria, the blood and bones of Handel’s opera seria, is emotionally and dramatically absurd.
I gave an account of the origin of music,’’ writes Spencer, and now I am blamed because my conception of music does not include a conception of music as fully developed! If to someone who said that an oak comes from an acorn it were replied that he had manifestly never seen an oak, since an acorn contains no trace of all its complexities of form and structure, the reply would not be thought a rational one … What is every process of evolution but the gradual assumption of traits which were not originally possessed?
Music, Language, and Cognition: And Other Essays in the Aesthetics of Music by Peter Kivy