Contending with Binary Oppositions in Musical Aesthetics through Eros

Abstract

Throughout history, musical aesthetics has been characterized by binary oppositions. For example, some argue music’s expressivity is rooted in its internal, formal configurations while others do so by pointing to music’s representational qualities. Or some emphasize music's sensorial nature, i.e., the necessity of music to be implicated in sound and time, while others emphasize its incorporeal aspect. However, looking at these oppositions through the lens of Eros gives us a more fruitful understanding of musical aesthetics where integration of opposing views is possible. Eros, when defined as a drive/instinct to sublimate oneself in order to create higher unities, can explain these opposing views while incorporating the sense of longing and delight that accompanies musical experience. Music triggers erotic desire in us through its sensorial beauty which is manifested in sonic configuration of forms. Eros can be seen as a modified version of behavioral mimesis which is a primaeval impulse to be like the other. Thus, while affirming the formalistic creed, Eros also redefines the representational view by redeeming the concept of imitation in music.