Music as an aesthetic experience

The preface to the introduction is the realization that truly listening to music requires an active response, and this type of listening is not innate.

Music as an aesthetic experience

Philosophy of Music Education Review The notion of aesthetic experience, or at least its biological or "natural" basis quotes by Reimeris claimed to be "very strongly based on the thought of John Dewey and Susanne K. Reimer has taken one feature from Dewey who frequently discusses the role of emotions in aesthetic experience and man as a living creature in his Art as Experience.

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The rest of Dewey's philosophy is, however, simply ignored. The philosophical frameworks of Reimer and Dewey are completely different. According to Dewey such empirical ideas "are dead, incapable of performing a regulative office in new situations.

They are 'empirical' in the sense in which the term is opposed to scientific—that is, they are mere summaries of results obtained under more or less accidental circumstances.

Concepts are definitions of operations. The connection of concepts to the world occurs ultimately through interaction, that is perception and action, not only perception.

Visual Arts, Music, and Aesthetic Experience - Sociology - Oxford Bibliographies This article has been cited by other articles in PMC. Abstract In this paper aesthetic experience is defined as an experience qualitatively different from everyday experience and similar to other exceptional states of mind.
Introduction Philosophy of Music Education Review The notion of aesthetic experience, or at least its biological or "natural" basis quotes by Reimeris claimed to be "very strongly based on the thought of John Dewey and Susanne K.
Academic Tools He considered dance beautiful closing the treatise with a discussion of the minuetbut treated music important only insofar as it could provide the proper accompaniment for the dancers. However, by the end of the century, people began to distinguish the topic of music and its own beauty from music as part of a mixed media, as in opera and dance.

This is what pragmatism is all about. As Charles Sanders Peirce said, the whole problem is to explain how action or practice widens the concept of experience.

Music as an aesthetic experience

Dewey distinguished his view from classical empiricism by calling it experimental empiricism. Applying his linguistic notion of "concept" Reimer ends up with a categorical distinction between conceptual that is, linguistic meanings and aesthetic or artistic meanings. An object of art is a physical entity painting hanging on a wall, vibrations of air, black dots on paper, and so on which produces, when perceived, a work of art as an aesthetic experience.

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From this point of view it makes sense to say that a physical entity an object of art arouses feelings which are elements of the produced experience which is a work of art.

But it makes little sense to say that feelings or mental entities in general reside in a physical entity like painting, vibrations of air, and so on.

Even George Berkeley held that this is impossible, and used it as an argument for his idealism; namely, the view that the world of trees, tables, and so on consists of mental entities, visual, aural, tactual, and other ideas. I do not know Reimer's view, but this is certainly not Dewey's stand in Art as Experience.

Certain kinds of physical entities paintings, strings of letters, and so on arouse certain kinds of experiences in us. Reimer gives no explanation how we can share subjective feelings subjectivities even "incapable of being named" 13 which are, or should be, objectified in an object.

This is due to the fact that he does not explain what he means by non-conceptual meaning. According to Reimer meanings are just there, somewhere in the objects or works of art, and they can be experienced and thus shared, but not communicated because they cannot be conceptualized.The introduction of Donald J.

Funes' book Musical Involvement addresses the topic of music as an aesthetic experience. The preface to the introduction is the realization that truly listening to music requires an active response, and this type of listening is not innate.4/4(1). 1. Kaleidoscope2. Sing 3. The Overview 4.

5 Light Years 5. No Promises ()6. You Fall When You Hesitate 7. Our Love is a Painted Picture 8. A Race For Our Autonomy 9. Let It . The introduction of Donald J. Funes' book Musical Involvement addresses the topic of music as an aesthetic experience. The preface to the introduction is the realization that truly listening to music requires an active response, and this type of listening is not innate.

The Aesthetics of Classical Music. Is the aesthetic experience of this music primarily or wholly intellectual in nature as the cognitivist would claim, or does the listener experience the content in emotional terms through the music’s expressive qualities?

The fact that music unaided by words is generally agreed to possess meaning of some.

Music as an aesthetic experience

Introduced into the philosophical lexicon during the Eighteenth Century, the term ‘aesthetic’ has come to be used to designate, among other things, a kind of object, a kind of judgment, a kind of attitude, a kind of experience, and a kind of value.

Jan 12,  · In this paper aesthetic experience is defined as an experience qualitatively different from everyday experience and similar to other exceptional states of mind. Three crucial characteristics of aesthetic experience are discussed: fascination with an aesthetic object (high arousal and attention.

Aesthetics of music - Wikipedia