Music, the Arts, and Ideas: Patterns and Predictions in by Leonard B Meyer

By Leonard B Meyer

Meyer makes a beneficial assertion on aesthetics, standards for assessing nice works of track, compositional practices and theories of the current day, and predictions of the way forward for Western tradition. His postlude, written for the book's twenty-fifth anniversary, appears again at his innovations at the course of tune in 1967.

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By Leonard B Meyer

Meyer makes a beneficial assertion on aesthetics, standards for assessing nice works of track, compositional practices and theories of the current day, and predictions of the way forward for Western tradition. His postlude, written for the book's twenty-fifth anniversary, appears again at his innovations at the course of tune in 1967.

Show description

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Extra info for Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture

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Whenever a tendency is inhibited-or, more generally, when deviation takes place-slight though perhaps unconscious uncertainty is experienced. s It is sometimes objected that analysis can never do full justice to the unique, ineffable beauty of a work of art and that, because it necessarily involves the use of conceptual categories, analysis always misrepresents and does violence to the unmediated quality of pure aesthetic experience. These points must, I think, be granted. The peculiar quality of a particular object, event, or experience-whether in art or in nature-can never be explained fully and without distortion.

Tion for his tendencies whether these be biological or musical. Nor can he tolerate uncertainty. And it is because distant departures from the certainty and repose of the tonic note and lengthy delays in gratification are insufferable to him that the tonal repertory of the primitive is 32 Value and Greatness in Music limited, not because he cannot think of other tones. It is not his mentality that is limited, it is his maturity. Note, by the way, that popular music can be distinguished from real jazz on the same basis.

Of these the return to the B is certainly the most probable, but only slightly so. However, once the B is reached, the 25 As It Has Been descent to E seems almost inevitable. And when the theme falls to this obvious consequent with neither delay nor diversion, it seems like a blatant platitude, a musical cliche. Nor are there any rhythmic resistances. The initial upbeat perpetuates itself without marked disturbance down to the final note which arrives on the obvious downbeat. Thus it seems that, here at least, value has something to do with the activation of a musical impulse having tendencies toward a more or less definite goal and with the temporary resistance or inhibition of these tendencies.

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