Music and the Aesthetic Copernican Revolution of the Eighteenth Century
Bibliographic Data
| ID | 3970383 |
|---|---|
| Authors | Jürgen Lawrenz (The University of Sydney, corresponding author) |
| Year | 2020 |
| Volume | 25 |
| Issue | 2 |
| Pages | 186-202 |
| Publication date | 2020-02-17 |
| Open Access | No |
| Type | ARTICLE |
| Venue | The European Legacy (JOURNAL) |
| Journal identifiers | ISSN: 1084-8770 • E-ISSN: 1470-1316 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/10848770.2019.1681179 |
| OpenAlex | W2982581730 |
| Language | EN |
| References cited | 8 |
In the mid-eighteenth century music underwent a sudden and drastic revolution when composers “discovered” a new dimension to their art. This had immense repercussions on the philosophy of art, for the music created before and after this divide represents two different species of aesthetic experience, which in due course affected our understanding of the meaning and import of the other arts as well. Despite the immense aesthetic repercussions of this Copernican revolution in music, philosophers of art seem not to have taken much notice of it. This essay details the emergence of the relevant musical criteria during the eighteenth century and dwells on their long-term impacts on the philosophy of art
Aesthetics · Art · Copernican principle · Epistemology · Literature · Scientific revolution · Historical Influence and Diplomacy · Philosophy · Renaissance Literature and Culture
| Highly cited | No |
|---|