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Jeg har lyst til å sette litt fokus på estetikk og hva det har med hifi å gjøre.
På HFS deler man ofte opp i subjektivt og objektivt. Jeg har lenge opplevd at definisjonen subjektivt trenger mer substans og nyanser I diskusjonen siden lytting til god lyd og musikk handler om estetiske opplevelser i hovedsak.
Søker man på estetikk på HFS får man svært få treff. Samme hvis man søker på Hifi og estetikk på google. Det er snodig.
Ok, here goes...
Definisjon:
Estetikk (fra gresk aisthesis, αἴσθησις, «sansekunnskap» eller «oppfatning») er et kunstteoretisk begrep som brukes både om «læren om kunnskap som kommer til oss gjennom sansene», og «læren om det vakre og skjønne i kunsten».
Estetiske fag
Estetiske fag brukes ofte om kreative fag som billedkunst og forskjellige formgivningsfag, men kan også omfatte for eksempel dans, teater, musikk, skjønnlitteratur og liknende.
Estetisk sans
Estetikere er en personlighetstype. En av parametrene (S) i Jungiansk Type Index betegner en persons evne til å sanse vakre omgivelser. Motsvarende betegner (N) i JTI en person som bruker fornuft ved viktige valg.
Bias betegner en predisposisjon til fordel for en reaksjonsmåte; en sak, et synspunkt, en forestilling, en idé eller et konsept; en preferanse, partiskhet, favorisering eller forutinntatthet.
Kulturell bias
Kulturell bias vil si tolke eller bedømme fenomener med utgangpunkt i sin egen, kulturelle referanseramme. Etnosentrisme kan være et eksempel på dette. Fenomenet kan observeres innen f.eks dimensjoner som U-/I-land, Østen/Vesten, Nord/Sør, sivilisert/usivilisert, muslim/kristen osv.
Kognitiv bias
Kognitiv bias eller bekreftende bias er tendensen til å søke og tolke (ny) informasjon slik at den støtter egne synspunkter og etablerte meninger samtidig som en unngår informasjon og tolkninger som motsier eksisterende forestillinger. I vitenskap er kanskje det alvorligste i denne forbindelse, tendensen til å formulere såkalte låste hypoteser. Med låste hypoteser vil et forskningsprosjekt ikke gi ny viten.
Hva er musikk og hvordan bedømmer vi det?
Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture.]
The creation, performance, significance, and even the definition of music vary according to culture and social context. There is a strong connection between music and mathematics.
Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound."[3] Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be."
Pitch is a subjective sensation, reflecting generally the lowness or highness of a sound. Rhythm is the arrangement of sounds and silences in time A melody is a series of notes sounding in succession. The notes of a melody are typically created with respect to pitch systems such as scales or modes. Harmony is the study of vertical sonorities in music. Vertical sonority refers to considering the relationships between pitches that occur together; usually this means at the same time, although harmony can also be implied by a melody that outlines a harmonic structure. Notes can be arranged into different scales and modes. Musical texture is the overall sound of a piece of music commonly described according to the number of and relationship between parts or lines of music: monophony, heterophony, polyphony, homophony, or monody.
Timbre, sometimes called "Color" or "Tone Color" is the quality or sound of a voice or instrument.[27] Expressive Qualities are those elements in music that create change in music that are not related to pitch, rhythm or timbre. They include Dynamics and Articulation. Form is a facet of music theory that explores the concept of musical syntax, on a local and global level. Examples of common forms of Western music include the fugue, the invention, sonata-allegro, canon, strophic, theme and variations, and rondo. Analysis is the effort to describe and explain music.
Philosophy of music is the study of fundamental questions regarding music. The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics. Some basic questions in the philosophy of music are:
• What is the definition of music? (What are the necessary and sufficient conditions for classifying something as music?)
• What is the relationship between music and mind?
• What does musical history reveal to us about the world?
• What is the connection between music and emotions?
• What is meaning in relation to music?
Traditionally, the aesthetics of music explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment (plaisir and jouissance) of music. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant. Through their writing, the ancient term 'aesthetics', meaning sensory perception, received its present day connotation. In recent decades philosophers have tended to emphasize issues besides beauty and enjoyment. For example, music's capacity to express emotion has been a central issue.
In the 20th century, important contributions were made by Peter Kivy, Jerrold Levinson, Roger Scruton, and Stephen Davies. However, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. In the 19th century, a significant debate arose between Eduard Hanslick, a music critic and musicologist, and composer Richard Wagner. Harry Partch and some other musicologists, such as Kyle Gann, have studied and tried to popularize microtonal music and the usage of alternate musical scales. Also many modern composers like Lamonte Young, Rhys Chatham and Glenn Branca paid much attention to a scale called just intonation.
It is often thought that music has the ability to affect our emotions, intellect, and psychology; it can assuage our loneliness or incite our passions. The philosopher Plato suggests in the Republic that music has a direct effect on the soul. Therefore, he proposes that in the ideal regime music would be closely regulated by the state. (Book VII)
There has been a strong tendency in the aesthetics of music to emphasize the paramount importance of compositional structure; however, other issues concerning the aesthetics of music include lyricism, harmony, hypnotism, emotiveness, temporal dynamics, resonance, playfulness, and color musical development.
Så til det som jeg håper kan være matnyttig.
Det er gjort mye forskning rundt estetikk. Riktignok ikke på det mikronivået vi kan bruke til større forståelse av enkelte hifirelaterte fenomener.
Forskningen viser at estetikk er en evne som er overførbar og som naturligvis kan trenes og kan måles i talent.
Jeg hadde en lang og god samtale med en nevrolog for ikke så langt tilbake som kunne fortelle meg at det estetiske senteret i hjernen er både adaptivt og plastisk. Det overføres også til det genetiske materialet. En konklusjon som kan trekkes av det er kulturell videreutvikling gjennom generasjoner som åpner for veldig mange interessante tankerekker.
På HFS deler man ofte opp i subjektivt og objektivt. Jeg har lenge opplevd at definisjonen subjektivt trenger mer substans og nyanser I diskusjonen siden lytting til god lyd og musikk handler om estetiske opplevelser i hovedsak.
Søker man på estetikk på HFS får man svært få treff. Samme hvis man søker på Hifi og estetikk på google. Det er snodig.
Ok, here goes...
Definisjon:
Estetikk (fra gresk aisthesis, αἴσθησις, «sansekunnskap» eller «oppfatning») er et kunstteoretisk begrep som brukes både om «læren om kunnskap som kommer til oss gjennom sansene», og «læren om det vakre og skjønne i kunsten».
Estetiske fag
Estetiske fag brukes ofte om kreative fag som billedkunst og forskjellige formgivningsfag, men kan også omfatte for eksempel dans, teater, musikk, skjønnlitteratur og liknende.
Estetisk sans
Estetikere er en personlighetstype. En av parametrene (S) i Jungiansk Type Index betegner en persons evne til å sanse vakre omgivelser. Motsvarende betegner (N) i JTI en person som bruker fornuft ved viktige valg.
Bias betegner en predisposisjon til fordel for en reaksjonsmåte; en sak, et synspunkt, en forestilling, en idé eller et konsept; en preferanse, partiskhet, favorisering eller forutinntatthet.
Kulturell bias
Kulturell bias vil si tolke eller bedømme fenomener med utgangpunkt i sin egen, kulturelle referanseramme. Etnosentrisme kan være et eksempel på dette. Fenomenet kan observeres innen f.eks dimensjoner som U-/I-land, Østen/Vesten, Nord/Sør, sivilisert/usivilisert, muslim/kristen osv.
Kognitiv bias
Kognitiv bias eller bekreftende bias er tendensen til å søke og tolke (ny) informasjon slik at den støtter egne synspunkter og etablerte meninger samtidig som en unngår informasjon og tolkninger som motsier eksisterende forestillinger. I vitenskap er kanskje det alvorligste i denne forbindelse, tendensen til å formulere såkalte låste hypoteser. Med låste hypoteser vil et forskningsprosjekt ikke gi ny viten.
Hva er musikk og hvordan bedømmer vi det?
Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture.]
The creation, performance, significance, and even the definition of music vary according to culture and social context. There is a strong connection between music and mathematics.
Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound."[3] Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be."
Pitch is a subjective sensation, reflecting generally the lowness or highness of a sound. Rhythm is the arrangement of sounds and silences in time A melody is a series of notes sounding in succession. The notes of a melody are typically created with respect to pitch systems such as scales or modes. Harmony is the study of vertical sonorities in music. Vertical sonority refers to considering the relationships between pitches that occur together; usually this means at the same time, although harmony can also be implied by a melody that outlines a harmonic structure. Notes can be arranged into different scales and modes. Musical texture is the overall sound of a piece of music commonly described according to the number of and relationship between parts or lines of music: monophony, heterophony, polyphony, homophony, or monody.
Timbre, sometimes called "Color" or "Tone Color" is the quality or sound of a voice or instrument.[27] Expressive Qualities are those elements in music that create change in music that are not related to pitch, rhythm or timbre. They include Dynamics and Articulation. Form is a facet of music theory that explores the concept of musical syntax, on a local and global level. Examples of common forms of Western music include the fugue, the invention, sonata-allegro, canon, strophic, theme and variations, and rondo. Analysis is the effort to describe and explain music.
Philosophy of music is the study of fundamental questions regarding music. The philosophical study of music has many connections with philosophical questions in metaphysics and aesthetics. Some basic questions in the philosophy of music are:
• What is the definition of music? (What are the necessary and sufficient conditions for classifying something as music?)
• What is the relationship between music and mind?
• What does musical history reveal to us about the world?
• What is the connection between music and emotions?
• What is meaning in relation to music?
Traditionally, the aesthetics of music explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment (plaisir and jouissance) of music. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant. Through their writing, the ancient term 'aesthetics', meaning sensory perception, received its present day connotation. In recent decades philosophers have tended to emphasize issues besides beauty and enjoyment. For example, music's capacity to express emotion has been a central issue.
In the 20th century, important contributions were made by Peter Kivy, Jerrold Levinson, Roger Scruton, and Stephen Davies. However, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. In the 19th century, a significant debate arose between Eduard Hanslick, a music critic and musicologist, and composer Richard Wagner. Harry Partch and some other musicologists, such as Kyle Gann, have studied and tried to popularize microtonal music and the usage of alternate musical scales. Also many modern composers like Lamonte Young, Rhys Chatham and Glenn Branca paid much attention to a scale called just intonation.
It is often thought that music has the ability to affect our emotions, intellect, and psychology; it can assuage our loneliness or incite our passions. The philosopher Plato suggests in the Republic that music has a direct effect on the soul. Therefore, he proposes that in the ideal regime music would be closely regulated by the state. (Book VII)
There has been a strong tendency in the aesthetics of music to emphasize the paramount importance of compositional structure; however, other issues concerning the aesthetics of music include lyricism, harmony, hypnotism, emotiveness, temporal dynamics, resonance, playfulness, and color musical development.
Så til det som jeg håper kan være matnyttig.
Det er gjort mye forskning rundt estetikk. Riktignok ikke på det mikronivået vi kan bruke til større forståelse av enkelte hifirelaterte fenomener.
Forskningen viser at estetikk er en evne som er overførbar og som naturligvis kan trenes og kan måles i talent.
Jeg hadde en lang og god samtale med en nevrolog for ikke så langt tilbake som kunne fortelle meg at det estetiske senteret i hjernen er både adaptivt og plastisk. Det overføres også til det genetiske materialet. En konklusjon som kan trekkes av det er kulturell videreutvikling gjennom generasjoner som åpner for veldig mange interessante tankerekker.
Sist redigert: