검색어: or (알바니아어 - 페르시아어)

ata shembuj ne ua paraqesim tërë njerëzve, or i kuptojnë vetëm ata që dinë.
اين مثَلها را براى مردم مى‌زنيم و آنها را جز دانايان درنمى‌يابند.

nëse aëshiron, ju zhduk juve or njerëz, e sjell të tjerë. për këtë është i plotfuqishëm.
(ای مردمان!) اگر (خدا) بخواهد، شما را (از میان) می‌برد و دیگرانی را به جای شما (پدید) می‌آورد و خدا بر این (کار) توانا بوده است.

should we understand music in terms of emotion? i agree with eduard hanslick:1 the answer is ‘no’. let me count the ways that there is no essential connection: it is not essential to music to possess emotion, arouse emotion, express emotion, or represent emotion. music, in itself, has nothing to do with emotion. this negative thesis is restricted to instrumental or absolute music. what is called ‘programme’ or non‐absolute music can involve emotion if it is intended to be heard in the light of some representational or semantic art‐form that does express, arouse, or represent emotion. for example, in a song, words may refer to emotions. but this is different from the way in which instrumental or absolute music has been thought to involve emotion. my targets here are restricted to what i call ‘literalist’ theories, which invoke the existence of genuine emotion. there are theories that propose that in musical experience we imagine music as somehow connected with emotions, without real emotions being in play. roger scruton and jerrold levinson have proposed theories of this sort, and i offer no objections to these views here.2 the theories i criticize in this paper postulate some real relation between music and genuine emotion. i will argue that hanslick was right in his negative critique of literalist emotion theories of music. i will not argue for his positive view that beauty in music ‘consists simply and solely of tones and their artistic combination’,3 although i have much sympathy with it.4 another theme in hanslick is his purist view that music is better when it is absolute or instrumental, and not when mixed with other arts, as in opera. in particular, wagner’s later operas attracted hanslick’s censure.5 musicologists tend to focus particularly on hanslick’s purism. how are these three views related? the structure is this: if one holds the positive view that music consists of artistically arranged sounds, then one must hold the negative thesis about emotion. and if one holds the purist view, then one must hold both positive and negative views. however, one can hold the negative view without the positive and purist views. and one can hold both the negative and positive views without the purism. that is, we can agree with hanslick’s negative critique of emotion theories while rejecting his positive view of what music consists in as well as his purist stance against opera. or else, we can agree with both his negative critique of emotion theories and his positive view of what music consists in, while rejecting his purist stance against opera. in this paper, i will restrict myself to defending hanslick’s negative claim that it is not essential to absolute music to possess, express, arouse, or represent emotion. this is either because absolute music does not and cannot do any of that, the ways that there is no essential connection: it is not essential to music to possess emotion, arouse emotion, express emotion, or represent emotion. music, in itself, has nothing to do with emotion. this negative thesis is restricted to instrumental or absolute music. what is called ‘programme’ or non‐absolute music can involve emotion if it is intended to be heard in the
آیا باید موسیقی را از نظر احساسی درک کنیم؟ من با ادوارد هانسلیک موافقم: 1 پاسخ "نه" است. اجازه دهید راه‌هایی را بشمارم که هیچ ارتباط اساسی وجود ندارد: برای موسیقی ضروری نیست که احساسات داشته باشد، احساسات را برانگیزد، احساسات را بیان کند، یا احساسات را نشان دهد. موسیقی به خودی خود ربطی به احساس ندارد. این تز منفی به موسیقی دستگاهی یا مطلق محدود می شود. آنچه «برنامه» یا موسیقی غیرمطلق نامیده می‌شود، اگر قرار باشد در موسیقی شنیده شود، می‌تواند شامل احساسات باشد.