The paper “ Aesthetics Meaning in Terms of Music and Early Years and Works of Beethoven” is a breathtaking example of an essay on music. The concept of “ aesthetic experience” has for a long time intrigued music composers, scholars, students and listeners. Indeed, Davis points out those modern-day music educators, specifically those who have centred on exploring the perspectives of music aesthetics have tended to seek explanations on how musical aesthetic experiences, should be perceived, and the elements necessary for people to have an aesthetic experience. The concept of music aesthetics originates from the concept of taste, which drew significant philosophical attention in the 18th century.
Based on the rationalism on beauty, the 18th-century concepts of taste believed that judgement of beauty might be ‘ immediate and based on the ‘ egoism of beauty, ’ which promotes the idea that “ pleasure” or beauty is “ disinterested. ” During this period, Ludwig van Beethoven (1770 - 1827) brought the Classical period to a climax and ultimate. He also marked the start of the Romantic Period. The central thesis guiding this essay is that the aesthetics of Beethoven’ s music gave the music a new meaning in the society that set the course of the beauty of music to date.
This paper examines the meaning of aesthetics’ both generally and in music, and the early years and works of Beethoven. 1. Aesthetics’ and it's meaning both generally and in terms of musicThe term aesthetic was first used as a philosophical word list in the 18th century. It is used in designating a form of judgment, experience, object, value, and attitude. Mostly, aesthetic theories seemed to differ over the meanings of these designations, including whether an artwork can be considered to be an aesthetic object, ways in which the relationship between aesthetic experience and value should be understood and the perceptual basis for forming the judgement on whether the artwork has an aesthetic value. Still, a question regarding the more general nature of aesthetics has recently been explored.
These include whether aesthetic may be explained without having to appeal or whether an agreement in respect to anyone value of an object is sufficient to provide a meaning argument on the aesthetic value or experience from an artwork.
These second category of aesthetics emerged in the 20th century. According to Davis, the concept of aesthetics originates from the concept of taste, which drew significant philosophical attention in the 18th century. Based on the rationalism on beauty, the 18th-century concepts of taste believed that judgement of beauty might be ‘ immediate and based on the ‘ egoism of beauty’ . In terms of immediacy, the rationalism of beauty is concerned with the perceptive that judgement beauty should be based on reason, where the reasoning is based on the application of concepts and principles.
It is against this background that the immediacy thesis was developed. Examples of philosophers who have used the theory include Jean-Baptiste Dubos on his appraisal of painting, poetry and music in 1719. When it comes to disinterest, Davis suggests that egoism on virtue is the perspective of judging a trait or an action by taking pleasure in it, in order to serve one’ s interest. Examples include the Hobbesian perspective in the 18th century that considered judging a trait or an action by taking pleasure in it since an individual believes it promotes safety.
Hence, a virtue is judged based on the immediate sensation of pleasure. This implies that the judgements of virtue are based on judging the taste and is equivalent to judging beauty. Hence, people judge something to be beautiful based on the extent to which they are believed to serve human interest.
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