well, having just read Adorno's thesis on aesthitics I find the context of this thread of most interest {or should that be of most interesting} lol

[quote1214222937=Hypersonic]
[quote1213500498=leonardomend]
Indeed....many have...much the same.
Et tu, Hyp?

[/quote1213500498]

No.

[/quote1214222937]
Yes.

It says "critique the argument, not the person."

Your intellectually dishonest way of getting around that, so as to insult the person by proxy, is to insult the argument. But it clearly says "critique," not "insult."

I don't think you ever have a mandate to tell people "your thread is stupid" or "your post is stupid" or "your argument is stupid." The fact that you're avoiding, with insipid delicacy, saying "you're stupid" is rather beside the point.

I would think that, in lapsing from critique into base derpogation, whether of argument or person, you are more than once guilty of breaking the forum rules.

And before you start, I never claimed I haven't done this either.

That'll do for this one.

Next time take it to pm's, please. The bartender just spent a lot of money fixing that there mirror behind the bar and doesn't want to replace it everytime y'all set to fisticuffs.

btw: Forum Guidelines are always accessible in my signature, which you can find in all of my posts anytime your heart desires.

!heart

td

Hi!
I have posted on the Aesthetics forum recently and I wanted to reply to what Wagner (username on this website, not the composer) said about the impracticability of assigning an objective value to music. That is the kind of thought that I have been leaning towards more and more in my research on (musical) aesthetics. One of the most interesting concepts I learned about what Birkhoff's aesthetic equation, M=O/C (M, the aesthetic measure, =order/complexity). He not only applied this equation to vases by illustrating points of reference on the vase and calculating it that way, but also to music by calculating things like how many tonic note chords appear per measure, and other criteria. (His book Aesthetic Measure covers it in great detail...it's been a while since I've read through it so I don't remember much about the specific criteria.)

I initially thought that this equation could be applied to music to determine its aesthetic value or its tendency to produce an emotional response; that based on the criteria used, we could figure out the measurement of this ability. Upon a closer reading and a better understanding of his concept, however, I discovered that the equation is used to calculate the (what I call) "architectural dimensions" of the music rather than value or emotional worth. So my initial idea was proven to be untenable. But that lead me to think more highly of rhythmic and melodic symmetry, such as that exhibited by the Ode to Joy melody and the English Horn solo from Dvorak's New World Symphony, as criteria for emotional worth.

So, I too, now more than ever, find it difficult to assign an objective value to music. I am now beginning to think that my interpretation of music is subjective, and the fact that I respond to certain elements like IV-I, (b)VII-I, and descending third prgressions more than others leads me to believe that my responses are "tailor-made" to me and only me in the way they are. What that is is still another mystery; whether there are scientific reasons or philosophical/spiritual reasons I have still not determined.