But not all scientific investigation into aesthetics is misconceived. I just ran across a couple of very interesting articles where the authors seem to really understand the complexities and philosophical context of the problems of aesthetics.
One article, by Johanna Kieniewicz, is a very thoughtful overview of the field of neuroaesthetics. Here is a sample of her discussion:
She is referring to another paper, by
Aesthetics has a complex history. The term derives from the Greek “perception” and was coined by Alexander Baumgarten in 1750 as the study of sensory knowledge. But following Immanuel Kant's Critique of Judgment in 1790 , aesthetics began focusing on the concept of beauty, in nature and in art. During the nineteenth century, the term became largely synonymous with the philosophy of art. These three connotations—perception, beauty, art—point in different directions but are often conflated in neuroaesthetics.As you can see, they are well-acquainted with the philosophical background to aesthetics, which is, in my view, essential before you begin a scientific investigation into beauty.
All questions about beauty in music are pretty tricky, not only because of the usual problems of variety of taste, but also because it is usually difficult to report in words one's reactions to music. What would you say about this music by Ockeghem, for example: