TAILIEUCHUNG - A Different Story of the History of Western Music and the Aesthetic Project

While – as Hake (2004: 193) has stated – there is still a tendency to estab- lish a discursive dichotomy between consumer culture and the elitist thoughts of avant-garde movements, it should be stressed that both share a common rhetoric of innovation and progress. Furthermore, it was precisely this intel- lectual reflection about the status of art vis-à-vis everyday life that called for a tight bond between the two and led to the goal of an Aesthetisierung des Alltags (aestheticisation of everyday life) in the context of the Weimar Republic | Action Criticism Theory for Music Education The refereed scholarly journal of the MAtoAY Action for Change in Musk Education Volume 2 No. 2 December 2003 Thomas A. Regelski Editor Wayne Bowman Associate Editor Darryl A. Coan Publishing Editor Electronic Article A Different Story of the History of Western Music and the Aesthetic Project Olle Edstrom Olle Edstrom 2003 All rights reserved. The content of this article is the sole responsibility of the author. The ACT Journal the MayDay Group and their agents are not liable for any legal actions that may arise involving the article s content including but not limited to copyright infringement. ISSN 1545-4517 This article is part of an issue of our online journal ACT Journal http See the MayDay Group website at http Action Criticism Theory for Music Education Electronic Article Page 2 of 25 A Different Story of the History of Western Music and the Aesthetic Project Olle Edstrom-University of Goteborg Sweden I. Introduction The word aesthetic - everywhere and nowhere. For a long time I have been fascinated by the concept aesthetic . As undergraduates in Sweden we read in Ingemar Bengtsson handbook 1973 about aesthetic values functions experiences and communication. Included in the aesthetic it was said were all eternal and new questions about the meaning of music its soul its content and teachings of and views on the concept. Also stressed were the inner intention of the aesthetic message and the nature of the human encounter with the intentional aesthetic message. If the act of understanding leads to a value judgement it was said there occurred a transgression from hermeneutic to aesthetic but only if the assessed music was properly understood. On the other hand we also read Allan Merriam s The Anthropology of Music 1964 . Merriam listed six factors that together made up the aesthetic concept 1 Psychic or psychical distance 2 manipulation of form for its own sake 3 the attribution

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