英国assignment代写:绝对抽象

2017-03-23 10:15

绝对抽象的音乐协会创建对应的现代艺术和哲学围绕着它必须小心回头为第十九世纪时与术语相关的理念的一个绝对理念的起源而不是二十个。评论从第十九世纪的纯音乐，在年底，许多意识到音乐和自然主义也许并不适合对方，很大程度上是因为当时的想法–摆脱是很难的，至少在德语领域–音乐本质上是抽象的，绝对的，无指，形而上学，从而最终不与“真实世界”。这些素质一直归功于音乐自第十八世纪末的德国唯心主义哲学的兴起，是由早期的浪漫主义，叔本华和瓦格纳的钢筋。达尔豪斯认为，绝对的音乐美学一直持续到第十九世纪后期，制作音乐的“新浪漫主义”的一个“不浪漫”的时代特征的实证主义和唯物主义。Dahlhaus也认为，schopenhaurian振振有词瓦格纳美学仍然占据主导地位到早期现代主义时期。尽管大量的文献或文本作品喜欢音乐戏剧和纲领性的音诗以“独立音乐逻辑不需要范围以外的道具。

英国assignment代写:绝对抽象

The association of absolute music with abstraction creates correspondences to modern art and the philosophy that surrounds it one must be careful to look back for the origination of the idea of an absolute for the ideas associated with the term during the Nineteenth century and not the Twenty First. Commentary from the Nineteenth century on absolute music,In the end, many realized that music and naturalism were perhaps not well suited for each other, largely because of the prevailing idea – very hard to shake off, at least in German-speaking realms – that music was in essence abstract, absolute, nonreferential, metaphysical, and thus ultimately not connected with the “real world.” These qualities had been attributed to music since the rise of German idealist philosophy in the late eighteenth century and were reinforced by the early Romantics, Schopenhauer, and Wagner. Carl Dahlhaus suggested that the aesthetics of absolute music persisted well into the later nineteenth century, making music “neo-Romantic” in an “un-Romantic” age characterized by positivism and materialism. Dahlhaus also argued plausibly that a Schopenhaurian-Wagnerian aesthetics still held sway well into the early modernist period. Even heavily literature- or text-based works like music dramas and programmatic tone poems relied on “self-contained musical logic with no need of extramusical props.

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