Abstract
that we will not be tempted to attribute it to a human or any other kind of recognizable source. Incidentally, it would not have escaped us by now to what extent the relationship between vocal and instrumental music resembles the one between figurative and abstract painting. In the histories of both arts the emergence of abstraction is a relatively late development, the emancipation of purely instrumental genres from the periphery to the center of the art occurring only in the late eighteenth century and i8 Walton, Mimesis as Make-Believe, 56. See also Walton, What is Abstract About the Art of Music?, The Journal of Aesthetics and Art Criticism XLVI (1988), 351-64. '9 On the role of imagination in the constitution of musical movement, melody, rhythm, and harmony, see Roger Scruton, in his The Aesthetic Understanding (London, 1983), 77-100. On the ontology of the musical work, see especially Roman Ingarden, The Work of Music and the Problem of Its Identity (Berkeley, 1986). This content downloaded from 157.55.39.181 on Thu, 29 Sep 2016 06:19:45 UTC All use subject to http://about.jstor.org/terms
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