By Leonard B Meyer
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Extra resources for Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture
We are in fact continually making value judgments for both ourselves and others. As an individual I can listen to and study only a limited number of musical works during my lifetime. I must choose between works, exercising value judgments. As a teacher I decide to use this work for teaching rather than that. And though I may select the work for didactic reasons rather than because I think it is a masterpiece, even as I chose it for this reason I am aware of the distinction between a work which is great in its own terms and one which will serve to illustrate a given point clearly.
31 As It Has Been Notice that not only is infonnation increased in this variant, but that the meaning of the descent from B is in retrospect literaUr different. For its obviousness now seems to have been a means of deception as to the ultimate intent of the theme. Example 4 To summarize what we have learned from this excursion into the relationship of information theory to music and to value: first of all, we have found that resistance, or more broadly deviation, is a correlative of information.
These points must, I think, be granted. The peculiar quality of a particular object, event, or experience-whether in art or in nature-can never be explained fully and without distortion. (These matters are discussed below, pp. 162--64 and pp. ) To insist upon an exhaustive and accurate account, however, is to give up all hope of rational explanation and communication. One can only assert that a work of art is beautiful or possesses "validity" (see, for instance, Albert Hofstadter, "Validity versus Value").