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Morality, Society, and the Love of Art

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Budd M.
Estetika: The Central European Journal of Aesthetics
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2014
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vol. 51
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issue 2
170-208
EN
The principal focus of the essay is the idea of artistic value, understood as the value of a work of art as the work of art it is, and the essay explores the connections, if any, between artistic value and a variety of other values (social, moral, educational, and character-building) in human life. I start with a series of observations about social values and then turn to moral values. Beginning from Goethe’s claim that ‘music cannot affect morality, nor can the other arts, and it would be wrong to expect them to do so’, I proceed from music through the other arts; I distinguish different conceptions of morality; I highlight what I call a work of art’s positive moral value (its power for moral improvement); and distinguish three kinds of moral improvement, one taking pride of place. My conclusion is that the positive moral value of works of art has been greatly overrated. I then return to the social values of art, looking at the situation from a very different point of view and reaching new conclusions, some of them positive. I end by explaining why my observations and arguments about the positive moral value of a work of art in no way diminishes the importance of art in human life, the true end of art having an importance in human life not guaranteed by morality.
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The Musical Expression of Emotion: Metaphorical-As versus Imaginative-As Perception

100%
Budd M.
Estetika: The Central European Journal of Aesthetics
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2012
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vol. 49
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issue 2
131-148
EN
The paper begins with an overview of various well-known accounts of the musical expression of emotion that have been proposed in recent years. But rather than proceeding to assess the merits and faults of these accounts the paper examines whether a radically new theory by Christopher Peacocke is superior to all of them. The theory, which certainly has a number of attractive features, is based on the idea of metaphorical-as perception. The notion of metaphorical-as perception needs to be elucidated and the examination of Peacocke’s theory takes place by playing it off against a rival theory that is based on a different kind of perception, imaginative-as perception. The paper argues that, as the basis of an account of the musical expression of emotion, imaginative-as perception has all the advantages and none of the apparent defects of metaphorical-as perception.
3
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Nussbaum’s Virtual Musical Space

100%
Budd M.
Estetika: The Central European Journal of Aesthetics
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2015
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vol. 52
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issue 1
60-78
EN
A review essay on Charles O. Nussbaum´s The Musical Representation: Meaning, Ontology, and Emotion (Cambridge, MA: MIT Press, 2007, xii + 388 pp. ISBN 978-0-262-14096-6 (hbk.); Cambridge, MA: MIT Press, 2013, xii + 388 pp. ISBN 978-0-262-51745-4 (pbk.)).
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