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Abstrakt:
Against the background of the development of French Classicist aesthetics, which has been based, since the mid-17th century, mainly on the Aristotelian and Horatian traditions, the paper focuses on the way in which music becomes also part of the contemporary debates about the principles of classical doctrine, after the first period poetics primarily devoted to poetry, drama and painting. For research, in terms of the chosen topic, two period writings were essential – Jean Baptiste Dubos: Réflexions critiques sur la poesie et sur la peinture ( 1719) and Charles Batteux: Les beaux-arts réduits à un même principe (1746). The study reveals how both authors attempted to clarify the sense of a musical artwork based on the basis of the principles of classicist aesthetics, which was primarily formed as a poetics, according to which the main task of the artist was in the idea prodesse aut¨delectare (to teach and delight), but also movere (to move); an idea that could be realized only by the principle of imitation. In the final part, the contribution shows that this tradition of French classical doctrines influenced both the main creators of the Encyclopedia project: d’Alembert and Diderot.

Citace:
Roman Dykast. The concept of imitative principle in music as one of the "Fine Arts" in French Classicist aesthetics. Živá hudba 2018/9. On-line <https://ziva-hudba.info/the-concept-of-imitative-principle-in-music-as-one-of-the-fine-arts-in-french-classicist-aesthetics/> [19. 8. 2025].
Kopírovat Roman Dykast. The concept of imitative principle in music as one of the "Fine Arts" in French Classicist aesthetics. Živá hudba 2018/9. On-line <https://ziva-hudba.info/the-concept-of-imitative-principle-in-music-as-one-of-the-fine-arts-in-french-classicist-aesthetics/> [19. 8. 2025].