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Orchestra symphonica.

Iudicium musicum est "actio intellegens iudiciorum effectorum de aestimatione et gradu excellentiae singulorum operum musicorum, vel totorum gregum vel generum."[1][2] Iudicium musicum hoc sensu est pars aestheticae musicae. Quia studium musicae et media informationis saeculo vicensimo una creverunt, locutio usitata diurnarii significatione de perfunctionibus musicis referentis potiri coepit.[3]

Natura iudicii musicRecensere

Winton Dean musicologus dixit "Musica est ut fieri fit difficillima artium iudicari."[4] Lingua musica, artium plasticarum vel literariarum dissimilis, ad experientiam sensoriam humanam diserte non pertinet: "vocabulum amor omnino in vita et litteris vulgatum est: tonus C ad ientaculum vel itinera ferriviaria vel harmoniam maritorum haud pertinet."[5][6] Musica, dramaticae artis similis, in omne actione recreatur, et iudicium ergo notationem (partituram musicam) et actionem ambo explicare potest. Disertius, cum musicae sit dimensio temporaria quae iterationem vel explicationem eius materierum requirit, "difficultates aequilibrii, oppositionis, exspectationis, et perfectionis . . . graviores in musica quam in aliis artibus sunt, verbis vel repraesentationibus visis sic sustentis."[7][8] Absentia aestheticae musicae aperte evolutae vel secundo populo iudicium musicam rem omnino propriam facere solita est: "Non est ulla coercitio contraria extra personalitatem iudicis."[9][10]

NotaeRecensere

  1. Anglice: "the intellectual activity of formulating judgments on the value and degree of excellence of individual works of music, or whole groups or genres."
  2. Bojan Bujic, The Oxford Companion to Music, n.d.
  3. Bujic n.d.
  4. Dean 1980:44.
  5. Anglice: "the word 'love' is common coin in life and literature: the note C has nothing to do with breakfast or railway journeys or marital harmony."
  6. Dean 1980:45.
  7. Anglice: "problems of balance, contrast, expectation and fulfilment . . . are more central to music than to other arts, supported as these are by verbal or representational content."
  8. Dean (1980) 45.
  9. Anglice: "There is no counter-check outside the critic's own personality."
  10. Dean 1980:46–47.

BibliographiaRecensere

  • Avison, Charles. 1752. Essay on Musical Expression. Londinii.
  • Bujic, Bojan. N.d. Criticism of Music. In The Oxford Companion to Music. Oxford Music Online.
  • Charlton, David. 2003. Hoffmann as a Writer on Music. In E. T. A. Hoffmann's Musical Writings, ed. David Charlton, 1–22. Cantabrigiae: Cambridge University Press. ISBN 0-521-23520-0.
  • Conway, David. 2012. Jewry in Music: Entry to the Profession from the Enlightenment to Richard Wagner. Cantabrigiae: Cambridge University Press. ISBN 978-1-107-01538-8.
  • Davison, J. W., ed. Henry Davison. 1912. From Mendelssohn to Wagner: Memoirs of J. W. Davison." Londinii: William Reeves.
  • Dean, Winton. 1980. Criticism. In New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, vol. 5:36–50. Londinii: Macmillan ISBN 0-333-23111-2.
  • Hoffmann, E. T. A. 2003. E. T. A. Hoffmann's Musical Writings, ed. David Charlton. Cantabrigiae: Cambridge University Press. ISBN 0-521-23520-0.
  • Taruskin, Richard. 2010. Music in the Seventeenth and Eighteenth Centuries. Oxoniae: Oxford University Press. ISBN 978-0-19-538482-6.
  • Weber, William. 2001. From Miscellany to Homogeneity in Concert Programming. Poetics 29:127–134.
  • Weber, William. 2003. Consequences of Canon: The Instituionalization of Enmity between Contemporary and Classical Music. Common Knowledge 9(2):78-99.