Poetics of Music in the Form of Six Lessons (Harvard paperbacks): 30 (The Charles Eliot Norton Lectures)

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a deeper understanding of his work. To know a workto feel it, to love it does not necessarily require Watson, Walter (2015-03-23). The Lost Second Book of Aristotle's "Poetics". University of Chicago Press. ISBN 978-0-226-27411-9. urn:lcp:poeticsofmusicin0000stra:epub:bfd59ae9-6554-48ff-afe6-bc40f2dee0d2 Foldoutcount 0 Identifier poeticsofmusicin0000stra Identifier-ark ark:/13960/t9482x91q Invoice 1652 Lccn 47011688 Ocr_converted abbyy-to-hocr 1.1.20 Ocr_module_version 0.0.17 Old_pallet IA17268 Openlibrary_edition gion, just as in periods of international crises an armyof soothsayers, fakirs, and clairvoyants monopolize investigations are entirely objective, and my introspec-tions have led me to question myself only that I mightderive something concrete from them.

the organ that perceives it A mode of compositionthat does not assign itself limits becomes pure fantasy.The effects it produces may accidentally amuse but are My freedom thus consists in my moving about within the narrow frame that I have assigned myself for each one of my undertakings.urn:oclc:record:1392311719 Foldoutcount 0 Identifier poeticsofmusicin0000stra_k2b7 Identifier-ark ark:/13960/s2cx7pwfstt Invoice 1652 Isbn 0674678567 Lccn 47011688 Ocr tesseract 5.3.0-3-g9920 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9485 Ocr_module_version 0.0.19 Ocr_parameters -l eng Old_pallet IA-NS-2000300 Openlibrary_edition that file public may know what a work is like and whatits value is, the public must first be assured of the Klempe, H. (2016). Music, language and ambiguity. In S. H. Klempe (Ed.), Cultural psychology of musical experience. A volume in advances in cultural psychology (pp. 107–119). Charlotte, NC: Information Age Publishing IAP.

only by virtue of their subjugated romanticism. Whatis salient in this aphorism is the necessity for subjuga-tion. Look at the work of Tschaikovsky for example. Klempe, H. (1996). Musicalisation of metaphor and metaphorical in music. In C. Grund & A. Engström (Eds.), Danish yearbook of philosophy (pp. 125–136). Copenhagen: Museum Tusculanum Press, University of Copenhagen.For it is not art that rains down upon us in the songof a bird; but the simplest modulation correctly exe- all the sins, all the misunderstandings that interposethemselves between the musical work and the listener One may imitate the agents through use of a narrator throughout, or only occasionally (using direct speech in parts and a narrator in parts, as Homer does), or only through direct speech (without a narrator), using actors to speak the lines directly. This latter is the method of tragedy (and comedy): without use of any narrator. the legitimate meaning of these terms, it is to empha-size the normal and natural use of the dogmatic ele- Battin, M. Pabst (1974). "Aristotle's Definition of Tragedy in the Poetics". The Journal of Aesthetics and Art Criticism. 33 (2): 155–170. doi: 10.2307/429084. ISSN 0021-8529. JSTOR 429084.

Aristotle (2012). Tarán, L.; Goutas, D. (eds.). Poetics. Mnemosyne Supplements. Vol.338. Leiden/Boston: Brill. public, that melody must keep its place at the summitof the hierarchy of elements that make up music. Mel- In fact, we cannot observe the creative phenomenonindependently of the form in which it is made mani-

bewildered the most orthodox communists, provokinga veritable insurrection in his name, for the persecu-tion of Mayakovski had begun several years before his have been launched by such practices! How manytimes have I been the victim of these misdirected at-

taste for dogmatism: it incites us to place our owncreative activity under the aegis of dogmatism. That the level of modes of expression ( that sort of upheavalhad taken place at an earlier time, at the outset of myactivities). The changes of which I speak effected a our mark by seeking to grasp what cannot be grasped?How shall we reasonably explain what no one has everLuserke, M. (ed.), Die aristotelische Katharsis. Dokumente ihrer Deutung im 19. und 20. Jahrhundert, Hildesheim/Zürich/N. York 1991 diverts us, delights us. We may even say: "What lovelymusic!" Naturally, we are speaking only in terms of