Hostname: page-component-cd9895bd7-q99xh Total loading time: 0 Render date: 2024-12-26T08:32:47.417Z Has data issue: false hasContentIssue false
  • English
  • Français

Music and the Plastic Arts in Conquest of Time and Space

Published online by Cambridge University Press:  01 July 2024

Tadeusx Kowzan

Extract

Core share and HTML view are not available for this content. However, as you have access to this content, a full PDF is available via the ‘Save PDF’ action button.

In upholding the sensory principle of the classification of art, La Fontaine, consciously or not, took account of a tradition beginning in antiquity. The “philosophical century” was to have introduced a conceptual criterion, that of time and space. James Harris and Lessing are among the most ardent proponents of the division of art into the spatial and temporal. This criterion has played an important role in aesthetics. Among the countless systems of art classification developed in the course of the last two centuries, it has held a place of prominence to this day. Even those theorists who seek to soften the opposition between music and literature on the one hand, and the plastic arts on the other (Oskar Walzel), and who stress the union of space and time in the perception of the aesthetic object (Mikel Dufrenne), do not abandon the fundamental distinction between temporal and spatial art.

Type
Research Article
Information
Diogenes , Volume 19 , Issue 73 , March 1971 , pp. 1 - 20
Copyright
Copyright © 1971 Fédération Internationale des Sociétés de Philosophie / International Federation of Philosophical Societies (FISP)

References

1 Cf. Littérature et spectacle dans leurs rapports esthétiques, thématiques et Sémiologiques, Varsovie, Éditions Scientifiques de Pologne, 1970 (in French), pp. 11-17, 34.

2 Among the modern forerunners of this movement, one could not forget Béla Bartók. In his Musique pour cordes, célesta et percussion (1936) two string instrumental ensembles are separated on the stage by the piano, the percussion, the harp, the xylophone, and the celesta. The score of his Sonate pour deux pianos et percussion (1937) includes a plan for the spatial arrangement of the performers: the percussion is placed between the pianos which are well separated from each other with their key-boards facing the audience.

3 Quoted from Le Théâtre, edited by Arrabal, Christian Bourgois Éditeur, 1968, 1, p. 92.

4 Ibid., p. 99.

5 Naissance de l'art cinétique, Paris, Gauthier-Villars, 1967.