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The Ontology of “Expression” and “Expressionism” in Music through Consideration of Irano-Islamic Music
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Pouya Soraee *   |
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Abstract: (15679 Views) |
| Perhaps, the main common aspect in three fundamental perspectives, namely that of art work, artist and audience, is their united convergence in expressing this general axiom: “The Art is Expression”. This essential “Expressive” dignity in many ages and in various cultures can be diverted to “Expressionism”. For example, Opera Music was the conscious representation of reality, or Romantic Music in the 19th century, was generally a transparent explanation of composer’s emotions. According to many thinkers, Expressionism in music occurs when the music is entitled with optional name or accompanied with poems or images. This abstracted meaning of Expression (Expressionism) is related with General meaning of Expression. This Paper, will first present the ontological study of “Expression” and “Expressionism” foundation in music based on descriptive approach. Then, the mentioned descriptive variables are being described in visual Arts. For earning a more exact study, two new terms of “Subjective Expression” and “Objective Expression” are generated by the author and possible interaction between these two terms in fine arts is being argued. Moreover, the subject of transition of expression will be described in music and the author will offer new survey about “Satisfying Parity” in musical cognitions. Consequently, it is concluded that the music is more talented than other arts in transforming and devolving the “objective expression” and “subjective expression” to each other. This might be concluded that, due to volatile- synchronic essence of music, it is different from other visual art. |
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| Keywords: Expression, Representation, Aesthetics, Fine Art, Irano-Islamic Music |
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Full-Text [PDF 379 kb]
(5413 Downloads)
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Type of Study: Research |
Subject:
Special
Received: 2012/08/1 | Accepted: 2020/12/13
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