Amajor shift in critical attitudes toward the arts took place in the eighteenth century. The fine arts were now looked upon as a group, divorced from the sciences and governed by their own rules. The century abounded with treatises that sought to establish the overriding principles that differentiate art from other walks of life as well as the principles that differentiate them from each other. This burst of scholarly activity resulted in the incorporation of aesthetics among the classic branches of philosophy, heralding the cognitive turn in epistemology. Among the writings that initiated this turn, none were more important than the British contribution. "The Arts in Mind" brings together an annotated selection of these key texts.

A companion volume to the editors' "Tuning the Mind," which analyzed this major shift in world view and its historical context, "The Arts in Mind" is the first representative sampling of what constitutes an important school of British thought. The texts are neither obscure nor forgotten, although most histories of eighteenth-century thought treat them in a partial or incomplete way. Here they are made available complete or through representative extracts together with an editor's introduction to each selection providing essential biographical and intellectual background. The treatises included are representative of the changed climate of opinion which entailed new issues such as those of perception, symbolic function, and the role of history and culture in shaping the world.

Contents include: Anthony Ashley Cooper, Third Earl of Shaftesbury, "Characteristics"; Francis Hutcheson, "Inquiry Concerning Beauty, Harmony and Design"; Hildebrand Jacob, "Of the Sister Arts: An Essay"; James Harris, "On Music, Painting and Poetry"; Charles Avison, "An Essay on Musical Expression"; James Beattie, "Essay on Poetry and Music as They Affect the Mind"; Daniel Webb, "Observations on the Correspondence between Poetry and Music"; Thomas Twining, "On Poetry Considered as an Imitative Art," "On the Different Senses of the Word Imitative as Applied to Music by the Ancients and by the Moderns"; Adam Smith, "Of the Nature of that Imitation which Takes Place in What are Called the Imaginative Arts."

Amajor shift in critical attitudes toward the arts took place in the eighteenth century. The fine arts were now looked upon as a group, divorced from the sciences and governed by their own rules. The century abounded with treatises that sought to establish the overriding principles that differentiate art from other walks of life as well as the principles that differentiate them from each other. This burst of scholarly activity resulted in the incorporation of aesthetics among the classic branches of philosophy, heralding the cognitive turn in epistemology. Among the writings that initiated this turn, none were more important than the British contribution. The Arts in Mind brings together an annotated selection of these key texts. A companion volume to the editors' Tuning the Mind, which analyzed this major shift in world view and its historical context, The Arts in Mind is the first representative sampling of what constitutes an important school of British thought. The texts are neither obscure nor forgotten, although most histories of eighteenth-century thought treat them in a partial or incomplete way. Here they are made available complete or through representative extracts together with an editor's introduction to each selection providing essential biographical and intellectual background. The treatises included are representative of the changed climate of opinion which entailed new issues such as those of perception, symbolic function, and the role of history and culture in shaping the world.>

Starting from the late Renaissance, efforts to make vocal music more expressive heightened the power of words, which, in turn, gave birth to the modern semantics of musical expression. As the skepticism of seventeenth-century science divorced the acoustic properties from the metaphysical qualities of music, the door was opened to dicern the rich links between musical perception and varied mental faculties. In Tuning the Mind, Ruth Katz and Ruth HaCohen trace how eighteenth century theoreticians of music examined anew the role of the arts within a general theory of knowledge. As the authors note, the differences between the physical and emotional dimensions of music stimulated novel conceptions and empirical inquiries into the old aesthetic queries. Tracing this development, their opening chapter deals with seventeenth-century epistemological issues concerning the artistic qualities of music. Katz and HaCohen show that painting and literature displayed a comparable tendency toward "musicalization," whereby the dynamic of forms-the modalities specific to each artistic medium-rather than subject matter was believed to determine expression. Katz and HaCohen explore the ambiguities inherent in idealization of an art form whose mimetic function has always been problematic. They discuss the major outlines of this development, from Descartes to Vico through Condillac. Particular emphasis is placed on eighteenth-century British thinkers, from Shaftesbury to Adam Smith, who perceived these problems in their full complexity. They also explore how the French and the Germans dealt differently with questions that preoccupied the British, each nation in accordance with their own past tradition and tendencies. The concluding chapter summarizes the parallel development of abstract art and basic hypotheses concerning the mind and explores basic theoretical questions pertaining to the relationship between perception and cognition. In addressing some of the most complex problems in musical aesthetics, Katz and HaCohen provide a unique historical perspective on the ways their art creates and develops coherent worlds, and, in so doing, contribute to our understanding of the workings of the mind.

Starting from the late Renaissance, efforts to make vocal music more expressive heightened the power of words, which, in turn, gave birth to the modern semantics of musical expression. As the skepticism of seventeenth-century science divorced the acoustic properties from the metaphysical qualities of music, the door was opened to dicern the rich links between musical perception and varied mental faculties. In Tuning the Mind, Ruth Katz and Ruth HaCohen trace how eighteenth century theoreticians of music examined anew the role of the arts within a general theory of knowledge.

As the authors note, the differences between the physical and emotional dimensions of music stimulated novel conceptions and empirical inquiries into the old aesthetic queries. Tracing this development, their opening chapter deals with seventeenth-century epistemological issues concerning the artistic qualities of music. Katz and HaCohen show that painting and literature displayed a comparable tendency toward "musicalization," whereby the dynamic of forms-the modalities specific to each artistic medium-rather than subject matter was believed to determine expression. Katz and HaCohen explore the ambiguities inherent in idealization of an art form whose mimetic function has always been problematic. They discuss the major outlines of this development, from Descartes to Vico through Condillac. Particular emphasis is placed on eighteenth-century British thinkers, from Shaftesbury to Adam Smith, who perceived these problems in their full complexity. They also explore how the French and the Germans dealt differently with questions that preoccupied the British, each nation in accordance with their own past tradition and tendencies. The concluding chapter summarizes the parallel development of abstract art and basic hypotheses concerning the mind and explores basic theoretical questions pertaining to the relationship between perception and cognition.

In addressing some of the most complex problems in musical aesthetics, Katz and HaCohen provide a unique historical perspective on the ways their art creates and develops coherent worlds, and, in so doing, contribute to our understanding of the workings of the mind.