(music | art) criticism

Recently I’ve been doing a lot of thinking about the things that interest me. My main area of interest has always been Art, but another area that has inspired me as much is Music. Although Music has always been the more accessible of these two areas, Art is the one in which I have the experience and ability (if only I had continued my Clarinet lessons when I was 14, things could have been so different…).

The consideration of my interests has also prompted me to think about how Theory is now inextricably bound up with my appreciation of Art in a way that is not the case for Music. For me I would say that Art demands such an investment in extra information, or perhaps I expect that Art should require it. I no longer have an unmediated response to Art, my thought patterns include a ‘theory filter’ that pre-processes Art and preps it for analysis.

There is no reason why Music could not be considered in this way. Indeed for many this is the norm, but I hope that I never get to the stage where I think of Music in the way that I think of Art.

Let me explain. Music for me is an enjoyment with little significance beyond a thrill which is temporary. To introduce analysis into the equation would interrupt that thrill. This is absolutely not to reduce the value of this thrill – finding a good piece of music is one of the most moving experiences I know. Keeping up with the artists, labels, genres and developments is endlessly fascinating. But I also value its disconnectedness from an over-analysed view of the subject.

This is why Music is not my métier and Art is – I am perfectly happy to be a dilettante where Music is concerned, whereas with Art I combine my emotional reaction to the work with the desire for a deeper understanding of the piece and my reaction to it and from there…who knows?

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Erwin Panofsky (1892–1968)—Selected Quotations (part 2)

Man’s signs and structures are records because, or rather in so far as they express ideas separated from, yet realized by, the process of signaling and building. These records have therefore the quality of emerging from the stream of time…

Now we have seen that even the selection of the material for observation and examination is predetermined, to some extent, by a theory, or by a general historical conception. This is even more evident in the procedure itself, as every step made towards the system that ‘makes sense’ presupposes not only the preceding but also the succeeding ones.

A work of art is not always created exclusively for the purpose of being enjoyed, or, to use a more scholarly expression, of being experienced aesthetically. …But a work of art always has aesthetic significance (not to be confused with aesthetic value): whether or not it serves some practical purpose, and whether it is good or bad, it demands to be experienced aesthetically.

Only he who simply and wholly abandons himself to the object of his perception will experience it aesthetically.

A man-made object, however, either demands or does not demand to be so experienced, for it has what the scholastics call an ‘intention.’

Where the sphere of practical objects ends, and that of ‘art’ begins, depends then, on the ‘intentions’ of the creators.

Erwin Panofsky, The History of Art as a Humanistic Discipline, 1940