Gomila Antoni, Christensen Julia F
Ed. Beatriu de Pinós, University of the Balearic Islands, Palma, Spain.
BIAS Team (Prof. Manos Tsakiris), The Warburg Institute, School of Advanced Study, University of London, London, United Kingdom.
Prog Brain Res. 2018;237:471-484. doi: 10.1016/bs.pbr.2018.03.015. Epub 2018 Apr 13.
There has been a controversy on the moral import of music and art in general. On the one hand, the moralist view contends that there is some sort of link between art and morality, even if the way to specify this link may be highly diverse. It comprises most of the classical views of art, from Schiller's view of the role of artistic education in moral development, to any view that declares a form of art as corrupt or degenerated, or enlightening. What it is assumed minimally in all of them is that the moral import of an artwork contributes to its aesthetic value. On the other hand, formalist views claim that the aesthetic value of an artwork is genuine and autonomous, and therefore it is independent of any other value. In this chapter we focus on music, as the most difficult case for the moralist standpoint, given the lack of representational content of music. We argue for a variety of the moralist's view according to which the moral import of a musical artwork is not derived from its content (obviously, as it lack any), but from its pragmatics: the context and the intentions that guide its composition and performance, by analogy with any other intentional action, and point to the emotional impact of music as the common ground that bridges moral and aesthetic values. As a provisional conclusion, we outline a research program for brain studies that follows from this proposal, as a way test its predictions, focusing both on the emotional grounds of valuation and their context-dependency.
关于音乐和艺术的道德内涵，总体上一直存在争议。一方面，道德主义观点认为，艺术与道德之间存在某种联系，尽管具体说明这种联系的方式可能多种多样。它涵盖了大多数经典的艺术观点，从席勒关于艺术教育在道德发展中的作用的观点，到任何宣称某种艺术形式是腐败、堕落或具有启发性的观点。所有这些观点中至少都假定，一件艺术品的道德内涵有助于其审美价值。另一方面，形式主义观点认为，一件艺术品的审美价值是真实且自主的，因此它独立于任何其他价值。在本章中，鉴于音乐缺乏具象内容，我们将其视为道德主义立场最棘手的案例来进行探讨。我们支持道德主义者的一种观点，即音乐作品的道德内涵并非源自其内容（显然，因为它没有任何内容），而是源自其语用学：即指导其创作和表演的背景及意图，这与任何其他有意行为类似，并且指出音乐的情感影响是连接道德和审美价值的共同基础。作为一个初步结论，我们概述了一个基于此提议的大脑研究项目，作为检验其预测的一种方式，重点关注评估的情感基础及其对背景的依赖性。
