![]() The Ancient Greek philosopher Plato suggests in The Republic that music has a direct effect on the soul. Since ancient times, it has been thought that music has the ability to affect our emotions, intellect, and psychology it can assuage our loneliness or incite our passions. He called Wagner, “The great new hope of a new school of German Romantic opera.” Thomas Grey, a musicologist specializing in Wagnerian opera at Stanford University argues, “On the Beautiful in Music was written in riposte of Wagner's polemic grandstanding and overblown theorizing.” Hanslick and his partisans asserted that instrumental music is simply patterns of sound that do not communicate any emotions or images. Although history portrays Hanslick as Wagner's opponent, in 1843 after the premiere of Tannhäuser in Dresden, Hanslick gave the opera rave reviews. Wagner and his disciples argued that instrumental music could communicate emotions and images composers who held this belief wrote instrumental tone poems, which attempted to tell a story or depict a landscape using instrumental music. In the 19th century, a significant debate arose between Eduard Hanslick, a music critic and musicologist, and composer Richard Wagner regarding whether instrumental music could communicate emotions to the listener. However, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. In the 20th century, important contributions to the aesthetics of music were made by Peter Kivy, Jerrold Levinson, Roger Scruton, and Stephen Davies. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant.Īesthetics is a sub-discipline of philosophy. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment ( plaisir and jouissance) of music. In the pre-modern tradition, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. They may assess the tone of the orchestra, the tempos that the conductor chose for the symphony movements, the taste and judgement showed by the conductor in their creative choices, and even the selection of pieces which formed the concert program.Īesthetics of music ( / ɛ s ˈ θ ɛ t ɪ k s, iː s-, æ s-/) is a branch of philosophy that deals with the nature of art, beauty and taste in music, and with the creation or appreciation of beauty in music. The critic uses a range of aesthetic evaluation tools to write their review. ![]() Branch of philosophy Music critics listen to symphony orchestra concerts and write a review which assesses the conductor and orchestra's interpretation of the pieces they played.
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