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  • What Caught My Attention While Reading This Passage Was How

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    Pyero Talone
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    The passage discusses how Koch and Sulzer believed in enlightened ideals of writing guidelines for achieving aesthetic standards of their time in music. Scientific method became a revolutionary method during the Enlightenment and subjective arts were not hindered in famous treatises on music theory and performance. These methods advocated for an ideal listener who had both a discerning ear and heart for music, and was receptive to feelings expressed in pieces.

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    The passage discusses how Koch and Sulzer believed in enlightened ideals of writing guidelines for achieving aesthetic standards of their time in music. Scientific method became a revolutionary method during the Enlightenment and subjective arts were not hindered in famous treatises on music theory and performance. These methods advocated for an ideal listener who had both a discerning ear and heart for music, and was receptive to feelings expressed in pieces.

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    © All Rights Reserved
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    15 views1 page

    What Caught My Attention While Reading This Passage Was How

    Uploaded by

    Pyero Talone
    The passage discusses how Koch and Sulzer believed in enlightened ideals of writing guidelines for achieving aesthetic standards of their time in music. Scientific method became a revolutionary method during the Enlightenment and subjective arts were not hindered in famous treatises on music theory and performance. These methods advocated for an ideal listener who had both a discerning ear and heart for music, and was receptive to feelings expressed in pieces.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
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    What caught my attention while reading this passage was how “enlightened” it is the idea of writing

    what must and must not be done in order to achieve what Koch and Sulzer believed was the
    aesthetics of their times. Scientific method became a revolutionary method of the Enlightenment
    and the subjectivity of the arts was no hindrance for the creation of many famous treatises in music
    theory and performance (CPE Bach and Leopold Mozart’s versuche, for example). One thing these
    methods advocate for is the existence of an ideal listener, who has both “the ear and heart for
    music” (i.e. is equipped with taste and artistic sensibility) and is receptive to the feelings expressed
    by the piece. The mere fact that there are conditions for the composer-performer-listener thre

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