Znanieto za muzikata: istoričeski refleksii, filosofski perspektivi Tom 2
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Bulgarian |
| Veröffentlicht: |
Sofija
Institut za izsledvane na izkustvata - BAN
2020
|
| Ausgabe: | Părvo izdanie |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract Inhaltsverzeichnis Abstract |
| Beschreibung: | Zusammenfassung in englischer Sprache |
| Beschreibung: | 370 Seiten |
| ISBN: | 9789548594905 |
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Datensatz im Suchindex
| _version_ | 1804181980232810496 |
|---|---|
| adam_text | СЪДЪРЖАНИЕ УВОД........................................................................................................... 9 МУЗИКАЛНИЯТ БАРОК..................................................................11
Повратът................................................................................................. 12 Музикалният афект.............................................................................. 13 Идеята за
форма.................................................................................... 17 БУРМАЙСТЕР......................................................................................... 19 Бароковият музикує...............................................................................22
Фигурата - природа и направа...........................................................23 Музикалният синтаксис....................................................................... 25 „Каденци ................................................................................................ 28 „
Музикалните модуси “.........................................................................30 „Музикални орнаменти или фигури“................................................ 33 „Родовете на песните, или мелодическата направа ..................35 „Анализ или подредба на музикалната
творба“............................36 „Подражание [Imitatio] “..................................................................... 40 Фигурата като социална институция.............................................42
МЕРСЕН.................................................................................................. 45 „ Всеобщата хармония “....................................................................... 46 Връзката между musica humana и musica instrumentalis........................................................................................... 52 Унисонът в своето теологично тълкуване..................................... 55 XVIII ВЕК - ПРОМЕНИ И ПРОТИВОРЕЧИЯ....................... 68 МАТЕЗОН................................. 70 „ Съвършеният капелмайстор “..........................................................74 Съдържанието на музиката...............................................................77 5
Класификацията...................... Музикалната емфаза.............. Категории и типове мелодии РУСО vs. РАМО...................................... Рамо........................................................... Русо........................................................... „Писмо за френската
музика “.......... Критериите............................................ Речитативът и арията....................... „ Опит върху произхода на езиците . „Речник на музиката “.......................... 80 83 ,84 ..88 ..89 .96 .97 100 107 112 118 XIX ВЕК - ФИЛОСОФИЯ vs. МУЗИКАЛНА ЕСТЕТИКА.. 122
ХАНСЛИК...............................................................................................124 Какво печели и какво губи знанието за музиката с „музикално красивото ...................................... 125 Историческият
контекст....................................................................126 Негативните тези в „ За музикално красивото “.......................... 128 Фантазията............................................................................................. 131 От афекта към
чувството................................................................. 132 Представяне и изразяване.................................................................... 136 Общата и музикалната естетика.................................................... 137 Позитивните
тези................................................................................. 140 Музикалният израз................................................................................. 142 Музикалният
смисъл.............................................................................. 147 Феноменология на музикално красивото......................................... 148 Естетическото изследване.................................................................. 153 Естетическият предмет...................................................................... 157 Съзерцанието......................................................................................... .. Естетическият радикализъм............................................................ 162 Понятията на музикалната естетика............................................166 Съдържание, предмет, материал........................................... 170 ШОПЕНХАУЕР................................. „ Светът като воля и представа “ Изкуство и гений............................... Музиката като алегория................. 6 174 175 177 181
Мястото на музиката в разбирането за света........................ 186 Движението на музиката от волята към изкуството............. 189 Човешкото битие..............................................................................193 „ За метафизиката на музиката
“................................................. 194 НИЦШЕ.............................................................................................. 205 Дионисово(то) и Аполоново(то).................................................... 208 „Раждането на трагедията от духа на
музиката“.................209 Естетическата метафизика......................................................... 213 Музиката и формите на езика....................................................... 218 „ Сънят на Сократ “ в тълкуването на Ницше...........................223 Място и посока на
движение......................................................... 226 Буквата и духът на понятията..................................................... 229 „ За музиката и словото “................................................................ 231 МУЗИКАЛНАТА
ХЕРМЕНЕВТИКА............................................241 Кречмар...............................................................................................241 Шеринг................................................................................................ 246
Швайцер.............................................................................................. 252 Е. М. Форстър и Томас Ман........................................................... 268 РАДИКАЛНИЯТ ДВАЙСЕТИ
ВЕК......................................... 272 ШЬОНБЕРГ........................................................................................ 274 Идеята за творчеството................................................................275 Музика и
истина................................................................................277 Идеята и музикалната идея........................................................... 278 Идеята за метода............................................................................ 280 Новото като
първо...........................................................................282 Императивът на представянето..................................................284 Grundgestalt (основен образ)........................................................... 285 Носталгия по науките за
числото................................................ 286 Музикалният език..............................................................................288 Две писма до Феручо Бузони........................................................... 290 „Мнение или прозрение?
“................................................................298 „Как човек става самотен “............................................................300 „ Сърце и ум в музиката “.................................................................302 „Моето
развитие“........................................................................... 305 „Новата музика; моята музика .................................................. 307 7
„ Дванайсеттоновата композиция “.............................................3 ^ „Композицията с дванайсет тона (1) “.......................................312 „ Проблеми на хармонията “.......................................................... 316 „Проблеми в изкуството на обучението
“.................................. 318 „Нова музика, старомодна музика, стил и идея ‘......................320 „Отношението към текста“.......................................................323 АДОРНО.......................................................................................... 327
Диалектическият метод............................................................... 328 „Антиномия на Новата музика ..................................................336 „Безучастност “............................................................................. 339 „Шьонберг и
прогресът“.............................................................. 344 Музикалнофилософски ядра във философията на Новата музика........................................................................... 344 Музикалният
израз......................................................................... 346 Истина и привидност.................................................................... 350 Експресионизмът в музиката....................................................... 351
„Композиторите“..........................................................................356 Summary..........................................................................................368 8
THE KNOWLEDGE OF MUSIC. Historical Reflections, Philosophical Perspectives Volume 2 Kristina Yapova The second volume of the book dedicated to the knowledge of music continues to trace the epochs through which it transitions by means of using the approach adopted in the first volume yet again. This approach aims, by going deep back into the history of the ideas of music, to derive from it certain philosophical perspectives which it carries within itself, and to send them forth towards present-day musicology. Each of the centuries within the time frame from the 17th to 20th century is marked by something novel. Even the first of them (examined in the first section: Baroque Music) brings on significant changes which shake the foundations of what has been established under Boethius’ authority. The structural equilibrium ֊ which has up until then distinguished the “three musics”, i.e. musica mundana, musica humana and musica instrumentalis - gets disrupted under the pressure of an increased interest in the humana - instrumentalis relationship which, furthermore, appears as feedback, insofar as it is governed by the idea of the manner in which the latter, sounding music, exercises control over the former, human music. Another, equally strong structure, also secured under Boethius’ authority, gets affected by the changes, too. This is the structure of the quadrivium. Reserving its place in it, the science called musica opens up outwards so as to connect with the sciences of the trivium, and first and formemost ֊ with rhetoric. As a result of such opening, yet another third
structure, namely the one of music as a whole, undergoes transformation. Hitherto bipartite, i.e. made up 368
of musica theorica and musica practica, it now becomes tripartite with the appearance of a new unit ֊ musica poetica. In the next century (Section Two: 18th Century ֊ Changes and Contradictions) serious transformations in the knowledge of music take place. Under their influence the relationship between music and philosophy acquires a new form. Unlike the previous century where the leading figure pushing forward the thinking about music, introducing novelty into it and opening new perspectives in it, is the Baroque-minded musicus ֊ a participant now goes up on the historical stage who enters into a debate with him. This participant is the universal philosopher. Stepping into the 18th century he finds a well-developed science of music, which accepts “as its own” only people who have mastered its knowledge and have been initiated into its mysteries, and allows no intrusion by a person who due to a lack of specialist knowledge of music theory cannot engage in a dialogue with them. And although this same century, at least in its beginning, is particularly sensitive to such intrusion, a number of universal ideas (remaining external to music as far as music itself has had no part in constituting their universality) manage to make their way. A typical example in point is the French enlightener Jean-Jacques Rousseau. The 19th century (SectionThree: Philosophy vs. Musical Aesthetics) is marked by a new opposition. Now the relationship between music and philosophy is presented in such a form which can only be metaphorically expressed as syncopation. Syncopation, more specifically,
takes place between the aesthetics of music in its formation as an independent science and the views of prominent philosophers of that century. These philosophers turn to music by seeing in it an embodiment of the· principle underlying their views. Personally speaking, music.ás presented by Hanslik’s aesthetics lives in a world far removed from the worlds in which Schopenhauer and Nietzsche have assighe d a rOle to it. The reason for this is the different place in which the essential in music has been positioned: while for Hanslick it is the place where the beautiful in music receives its final sound expression through which it lends itself to the human senses, Schopenhauer and Nietzsche seek the unique in music further and further back towards the primordial in the world: the former, in the immediate closeness to the Will, and the latter, in 369
the primeval Dionysian element. The 20th century (Section Four: The Radical 20th Century) is quite radical in its attitude towards the new. Anovel phenomenon emerges, namely the composer in his capacity of musicus. Up till that time, the figure of the composer has not fallen under this concept. Ever since the ages of Aristoxenus and Boethius, the μουσικός!musicus has always been the one who “knows how” to study music, and not the one how composes it. But thanks to those-who-know-how, the idea of music in its long history has changed in such a way as to also bring about a change in the subject of knowledge. It is not until the twentieth century that the musicus is faced with a new requirement corresponding to another consciousness. It is the requirement of his belonging to such a position of man immersed in existence which allows access to Being. Through the strenuous adherence to this position, called here hearing, human thought is capable of attaining the truth of Being. One composer who pursues the truth in his music and who communicates through his writing in words what he has arrived at thanks to his listening into music is Schoenberg. The book remains with an open ending. Any conclusion would run counter to its idea, namely pursuing perspectives - and they are always open - and to its main topic, namely music - and it always manifests itself through its intrinsic properties, i.e. movement and direction. Translated by Mihail Lukanov 370
СЪДЪРЖАНИЕ УВОД........................................................................................................... 9 МУЗИКАЛНИЯТ БАРОК..................................................................11
Повратът................................................................................................. 12 Музикалният афект.............................................................................. 13 Идеята за
форма.................................................................................... 17 БУРМАЙСТЕР......................................................................................... 19 Бароковият музикує...............................................................................22
Фигурата - природа и направа...........................................................23 Музикалният синтаксис....................................................................... 25 „Каденци ................................................................................................ 28 „
Музикалните модуси “.........................................................................30 „Музикални орнаменти или фигури“................................................ 33 „Родовете на песните, или мелодическата направа ..................35 „Анализ или подредба на музикалната
творба“............................36 „Подражание [Imitatio] “..................................................................... 40 Фигурата като социална институция.............................................42
МЕРСЕН.................................................................................................. 45 „ Всеобщата хармония “....................................................................... 46 Връзката между musica humana и musica instrumentalis........................................................................................... 52 Унисонът в своето теологично тълкуване..................................... 55 XVIII ВЕК - ПРОМЕНИ И ПРОТИВОРЕЧИЯ....................... 68 МАТЕЗОН................................. 70 „ Съвършеният капелмайстор “..........................................................74 Съдържанието на музиката...............................................................77 5
Класификацията...................... Музикалната емфаза.............. Категории и типове мелодии РУСО vs. РАМО...................................... Рамо........................................................... Русо........................................................... „Писмо за френската
музика “.......... Критериите............................................ Речитативът и арията....................... „ Опит върху произхода на езиците . „Речник на музиката “.......................... 80 83 ,84 ..88 ..89 .96 .97 100 107 112 118 XIX ВЕК - ФИЛОСОФИЯ vs. МУЗИКАЛНА ЕСТЕТИКА.. 122
ХАНСЛИК...............................................................................................124 Какво печели и какво губи знанието за музиката с „музикално красивото ...................................... 125 Историческият
контекст....................................................................126 Негативните тези в „ За музикално красивото “.......................... 128 Фантазията............................................................................................. 131 От афекта към
чувството................................................................. 132 Представяне и изразяване.................................................................... 136 Общата и музикалната естетика.................................................... 137 Позитивните
тези................................................................................. 140 Музикалният израз................................................................................. 142 Музикалният
смисъл.............................................................................. 147 Феноменология на музикално красивото......................................... 148 Естетическото изследване.................................................................. 153 Естетическият предмет...................................................................... 157 Съзерцанието......................................................................................... .. Естетическият радикализъм............................................................ 162 Понятията на музикалната естетика............................................166 Съдържание, предмет, материал........................................... 170 ШОПЕНХАУЕР................................. „ Светът като воля и представа “ Изкуство и гений............................... Музиката като алегория................. 6 174 175 177 181
Мястото на музиката в разбирането за света........................ 186 Движението на музиката от волята към изкуството............. 189 Човешкото битие..............................................................................193 „ За метафизиката на музиката
“................................................. 194 НИЦШЕ.............................................................................................. 205 Дионисово(то) и Аполоново(то).................................................... 208 „Раждането на трагедията от духа на
музиката“.................209 Естетическата метафизика......................................................... 213 Музиката и формите на езика....................................................... 218 „ Сънят на Сократ “ в тълкуването на Ницше...........................223 Място и посока на
движение......................................................... 226 Буквата и духът на понятията..................................................... 229 „ За музиката и словото “................................................................ 231 МУЗИКАЛНАТА
ХЕРМЕНЕВТИКА............................................241 Кречмар...............................................................................................241 Шеринг................................................................................................ 246
Швайцер.............................................................................................. 252 Е. М. Форстър и Томас Ман........................................................... 268 РАДИКАЛНИЯТ ДВАЙСЕТИ
ВЕК......................................... 272 ШЬОНБЕРГ........................................................................................ 274 Идеята за творчеството................................................................275 Музика и
истина................................................................................277 Идеята и музикалната идея........................................................... 278 Идеята за метода............................................................................ 280 Новото като
първо...........................................................................282 Императивът на представянето..................................................284 Grundgestalt (основен образ)........................................................... 285 Носталгия по науките за
числото................................................ 286 Музикалният език..............................................................................288 Две писма до Феручо Бузони........................................................... 290 „Мнение или прозрение?
“................................................................298 „Как човек става самотен “............................................................300 „ Сърце и ум в музиката “.................................................................302 „Моето
развитие“........................................................................... 305 „Новата музика; моята музика .................................................. 307 7
„ Дванайсеттоновата композиция “.............................................3 ^ „Композицията с дванайсет тона (1) “.......................................312 „ Проблеми на хармонията “.......................................................... 316 „Проблеми в изкуството на обучението
“.................................. 318 „Нова музика, старомодна музика, стил и идея ‘......................320 „Отношението към текста“.......................................................323 АДОРНО.......................................................................................... 327
Диалектическият метод............................................................... 328 „Антиномия на Новата музика ..................................................336 „Безучастност “............................................................................. 339 „Шьонберг и
прогресът“.............................................................. 344 Музикалнофилософски ядра във философията на Новата музика........................................................................... 344 Музикалният
израз......................................................................... 346 Истина и привидност.................................................................... 350 Експресионизмът в музиката....................................................... 351
„Композиторите“..........................................................................356 Summary..........................................................................................368 8
THE KNOWLEDGE OF MUSIC. Historical Reflections, Philosophical Perspectives Volume 2 Kristina Yapova The second volume of the book dedicated to the knowledge of music continues to trace the epochs through which it transitions by means of using the approach adopted in the first volume yet again. This approach aims, by going deep back into the history of the ideas of music, to derive from it certain philosophical perspectives which it carries within itself, and to send them forth towards present-day musicology. Each of the centuries within the time frame from the 17th to 20th century is marked by something novel. Even the first of them (examined in the first section: Baroque Music) brings on significant changes which shake the foundations of what has been established under Boethius’ authority. The structural equilibrium ֊ which has up until then distinguished the “three musics”, i.e. musica mundana, musica humana and musica instrumentalis - gets disrupted under the pressure of an increased interest in the humana - instrumentalis relationship which, furthermore, appears as feedback, insofar as it is governed by the idea of the manner in which the latter, sounding music, exercises control over the former, human music. Another, equally strong structure, also secured under Boethius’ authority, gets affected by the changes, too. This is the structure of the quadrivium. Reserving its place in it, the science called musica opens up outwards so as to connect with the sciences of the trivium, and first and formemost ֊ with rhetoric. As a result of such opening, yet another third
structure, namely the one of music as a whole, undergoes transformation. Hitherto bipartite, i.e. made up 368
of musica theorica and musica practica, it now becomes tripartite with the appearance of a new unit ֊ musica poetica. In the next century (Section Two: 18th Century ֊ Changes and Contradictions) serious transformations in the knowledge of music take place. Under their influence the relationship between music and philosophy acquires a new form. Unlike the previous century where the leading figure pushing forward the thinking about music, introducing novelty into it and opening new perspectives in it, is the Baroque-minded musicus ֊ a participant now goes up on the historical stage who enters into a debate with him. This participant is the universal philosopher. Stepping into the 18th century he finds a well-developed science of music, which accepts “as its own” only people who have mastered its knowledge and have been initiated into its mysteries, and allows no intrusion by a person who due to a lack of specialist knowledge of music theory cannot engage in a dialogue with them. And although this same century, at least in its beginning, is particularly sensitive to such intrusion, a number of universal ideas (remaining external to music as far as music itself has had no part in constituting their universality) manage to make their way. A typical example in point is the French enlightener Jean-Jacques Rousseau. The 19th century (SectionThree: Philosophy vs. Musical Aesthetics) is marked by a new opposition. Now the relationship between music and philosophy is presented in such a form which can only be metaphorically expressed as syncopation. Syncopation, more specifically,
takes place between the aesthetics of music in its formation as an independent science and the views of prominent philosophers of that century. These philosophers turn to music by seeing in it an embodiment of the· principle underlying their views. Personally speaking, music.ás presented by Hanslik’s aesthetics lives in a world far removed from the worlds in which Schopenhauer and Nietzsche have assighe d a rOle to it. The reason for this is the different place in which the essential in music has been positioned: while for Hanslick it is the place where the beautiful in music receives its final sound expression through which it lends itself to the human senses, Schopenhauer and Nietzsche seek the unique in music further and further back towards the primordial in the world: the former, in the immediate closeness to the Will, and the latter, in 369
the primeval Dionysian element. The 20th century (Section Four: The Radical 20th Century) is quite radical in its attitude towards the new. Anovel phenomenon emerges, namely the composer in his capacity of musicus. Up till that time, the figure of the composer has not fallen under this concept. Ever since the ages of Aristoxenus and Boethius, the μουσικός!musicus has always been the one who “knows how” to study music, and not the one how composes it. But thanks to those-who-know-how, the idea of music in its long history has changed in such a way as to also bring about a change in the subject of knowledge. It is not until the twentieth century that the musicus is faced with a new requirement corresponding to another consciousness. It is the requirement of his belonging to such a position of man immersed in existence which allows access to Being. Through the strenuous adherence to this position, called here hearing, human thought is capable of attaining the truth of Being. One composer who pursues the truth in his music and who communicates through his writing in words what he has arrived at thanks to his listening into music is Schoenberg. The book remains with an open ending. Any conclusion would run counter to its idea, namely pursuing perspectives - and they are always open - and to its main topic, namely music - and it always manifests itself through its intrinsic properties, i.e. movement and direction. Translated by Mihail Lukanov 370
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| adam_txt |
СЪДЪРЖАНИЕ УВОД. 9 МУЗИКАЛНИЯТ БАРОК.11
Повратът. 12 Музикалният афект. 13 Идеята за
форма. 17 БУРМАЙСТЕР. 19 Бароковият музикує.22
Фигурата - природа и направа.23 Музикалният синтаксис. 25 „Каденци". 28 „
Музикалните модуси “.30 „Музикални орнаменти или фигури“. 33 „Родовете на песните, или мелодическата направа".35 „Анализ или подредба на музикалната
творба“.36 „Подражание [Imitatio] “. 40 Фигурата като социална институция.42
МЕРСЕН. 45 „ Всеобщата хармония “. 46 Връзката между musica humana и musica instrumentalis. 52 Унисонът в своето теологично тълкуване. 55 XVIII ВЕК - ПРОМЕНИ И ПРОТИВОРЕЧИЯ. 68 МАТЕЗОН. 70 „ Съвършеният капелмайстор “.74 Съдържанието на музиката.77 5
Класификацията. Музикалната емфаза. Категории и типове мелодии РУСО vs. РАМО. Рамо. Русо. „Писмо за френската
музика “. Критериите. Речитативът и арията. „ Опит върху произхода на езиците ". „Речник на музиката “. 80 83 ,84 .88 .89 .96 .97 100 107 112 118 XIX ВЕК - ФИЛОСОФИЯ vs. МУЗИКАЛНА ЕСТЕТИКА. 122
ХАНСЛИК.124 Какво печели и какво губи знанието за музиката с „музикално красивото ". 125 Историческият
контекст.126 Негативните тези в „ За музикално красивото “. 128 Фантазията. 131 От афекта към
чувството. 132 Представяне и изразяване. 136 Общата и музикалната естетика. 137 Позитивните
тези. 140 Музикалният израз. 142 Музикалният
смисъл. 147 Феноменология на музикално красивото. 148 Естетическото изследване. 153 Естетическият предмет. 157 Съзерцанието. . Естетическият радикализъм. 162 Понятията на музикалната естетика.166 Съдържание, предмет, материал. 170 ШОПЕНХАУЕР. „ Светът като воля и представа “ Изкуство и гений. Музиката като алегория. 6 174 175 177 181
Мястото на музиката в разбирането за света. 186 Движението на музиката от волята към изкуството. 189 Човешкото битие.193 „ За метафизиката на музиката
“. 194 НИЦШЕ. 205 Дионисово(то) и Аполоново(то). 208 „Раждането на трагедията от духа на
музиката“.209 Естетическата метафизика. 213 Музиката и формите на езика. 218 „ Сънят на Сократ “ в тълкуването на Ницше.223 Място и посока на
движение. 226 Буквата и духът на понятията. 229 „ За музиката и словото “. 231 МУЗИКАЛНАТА
ХЕРМЕНЕВТИКА.241 Кречмар.241 Шеринг. 246
Швайцер. 252 Е. М. Форстър и Томас Ман. 268 РАДИКАЛНИЯТ ДВАЙСЕТИ
ВЕК. 272 ШЬОНБЕРГ. 274 Идеята за творчеството.275 Музика и
истина.277 Идеята и музикалната идея. 278 Идеята за метода. 280 Новото като
първо.282 Императивът на представянето.284 Grundgestalt (основен образ). 285 Носталгия по науките за
числото. 286 Музикалният език.288 Две писма до Феручо Бузони. 290 „Мнение или прозрение?
“.298 „Как човек става самотен “.300 „ Сърце и ум в музиката “.302 „Моето
развитие“. 305 „Новата музика; моята музика ". 307 7
„ Дванайсеттоновата композиция “.3 ^ „Композицията с дванайсет тона (1) “.312 „ Проблеми на хармонията “. 316 „Проблеми в изкуството на обучението
“. 318 „Нова музика, старомодна музика, стил и идея ‘.320 „Отношението към текста“.323 АДОРНО. 327
Диалектическият метод. 328 „Антиномия на Новата музика".336 „Безучастност “. 339 „Шьонберг и
прогресът“. 344 Музикалнофилософски ядра във философията на Новата музика. 344 Музикалният
израз. 346 Истина и привидност. 350 Експресионизмът в музиката. 351
„Композиторите“.356 Summary.368 8
THE KNOWLEDGE OF MUSIC. Historical Reflections, Philosophical Perspectives Volume 2 Kristina Yapova The second volume of the book dedicated to the knowledge of music continues to trace the epochs through which it transitions by means of using the approach adopted in the first volume yet again. This approach aims, by going deep back into the history of the ideas of music, to derive from it certain philosophical perspectives which it carries within itself, and to send them forth towards present-day musicology. Each of the centuries within the time frame from the 17th to 20th century is marked by something novel. Even the first of them (examined in the first section: Baroque Music) brings on significant changes which shake the foundations of what has been established under Boethius’ authority. The structural equilibrium ֊ which has up until then distinguished the “three musics”, i.e. musica mundana, musica humana and musica instrumentalis - gets disrupted under the pressure of an increased interest in the humana - instrumentalis relationship which, furthermore, appears as feedback, insofar as it is governed by the idea of the manner in which the latter, sounding music, exercises control over the former, human music. Another, equally strong structure, also secured under Boethius’ authority, gets affected by the changes, too. This is the structure of the quadrivium. Reserving its place in it, the science called musica opens up outwards so as to connect with the sciences of the trivium, and first and formemost ֊ with rhetoric. As a result of such opening, yet another third
structure, namely the one of music as a whole, undergoes transformation. Hitherto bipartite, i.e. made up 368
of musica theorica and musica practica, it now becomes tripartite with the appearance of a new unit ֊ musica poetica. In the next century (Section Two: 18th Century ֊ Changes and Contradictions) serious transformations in the knowledge of music take place. Under their influence the relationship between music and philosophy acquires a new form. Unlike the previous century where the leading figure pushing forward the thinking about music, introducing novelty into it and opening new perspectives in it, is the Baroque-minded musicus ֊ a participant now goes up on the historical stage who enters into a debate with him. This participant is the universal philosopher. Stepping into the 18th century he finds a well-developed science of music, which accepts “as its own” only people who have mastered its knowledge and have been initiated into its mysteries, and allows no intrusion by a person who due to a lack of specialist knowledge of music theory cannot engage in a dialogue with them. And although this same century, at least in its beginning, is particularly sensitive to such intrusion, a number of universal ideas (remaining external to music as far as music itself has had no part in constituting their universality) manage to make their way. A typical example in point is the French enlightener Jean-Jacques Rousseau. The 19th century (SectionThree: Philosophy vs. Musical Aesthetics) is marked by a new opposition. Now the relationship between music and philosophy is presented in such a form which can only be metaphorically expressed as syncopation. Syncopation, more specifically,
takes place between the aesthetics of music in its formation as an independent science and the views of prominent philosophers of that century. These philosophers turn to music by seeing in it an embodiment of the· principle underlying their views. Personally speaking, music.ás presented by Hanslik’s aesthetics lives in a world far removed from the worlds in which Schopenhauer and Nietzsche have assighe'd'a rOle to it. The reason for this is the different place in which the essential in music has been positioned: while for Hanslick it is the place where the beautiful in music receives its final sound expression through which it lends itself to the human senses, Schopenhauer and Nietzsche seek the unique in music further and further back towards the primordial in the world: the former, in the immediate closeness to the Will, and the latter, in 369
the primeval Dionysian element. The 20th century (Section Four: The Radical 20th Century) is quite radical in its attitude towards the new. Anovel phenomenon emerges, namely the composer in his capacity of musicus. Up till that time, the figure of the composer has not fallen under this concept. Ever since the ages of Aristoxenus and Boethius, the μουσικός!musicus has always been the one who “knows how” to study music, and not the one how composes it. But thanks to those-who-know-how, the idea of music in its long history has changed in such a way as to also bring about a change in the subject of knowledge. It is not until the twentieth century that the musicus is faced with a new requirement corresponding to another consciousness. It is the requirement of his belonging to such a position of man immersed in existence which allows access to Being. Through the strenuous adherence to this position, called here hearing, human thought is capable of attaining the truth of Being. One composer who pursues the truth in his music and who communicates through his writing in words what he has arrived at thanks to his listening into music is Schoenberg. The book remains with an open ending. Any conclusion would run counter to its idea, namely pursuing perspectives - and they are always open - and to its main topic, namely music - and it always manifests itself through its intrinsic properties, i.e. movement and direction. Translated by Mihail Lukanov 370
СЪДЪРЖАНИЕ УВОД. 9 МУЗИКАЛНИЯТ БАРОК.11
Повратът. 12 Музикалният афект. 13 Идеята за
форма. 17 БУРМАЙСТЕР. 19 Бароковият музикує.22
Фигурата - природа и направа.23 Музикалният синтаксис. 25 „Каденци". 28 „
Музикалните модуси “.30 „Музикални орнаменти или фигури“. 33 „Родовете на песните, или мелодическата направа".35 „Анализ или подредба на музикалната
творба“.36 „Подражание [Imitatio] “. 40 Фигурата като социална институция.42
МЕРСЕН. 45 „ Всеобщата хармония “. 46 Връзката между musica humana и musica instrumentalis. 52 Унисонът в своето теологично тълкуване. 55 XVIII ВЕК - ПРОМЕНИ И ПРОТИВОРЕЧИЯ. 68 МАТЕЗОН. 70 „ Съвършеният капелмайстор “.74 Съдържанието на музиката.77 5
Класификацията. Музикалната емфаза. Категории и типове мелодии РУСО vs. РАМО. Рамо. Русо. „Писмо за френската
музика “. Критериите. Речитативът и арията. „ Опит върху произхода на езиците ". „Речник на музиката “. 80 83 ,84 .88 .89 .96 .97 100 107 112 118 XIX ВЕК - ФИЛОСОФИЯ vs. МУЗИКАЛНА ЕСТЕТИКА. 122
ХАНСЛИК.124 Какво печели и какво губи знанието за музиката с „музикално красивото ". 125 Историческият
контекст.126 Негативните тези в „ За музикално красивото “. 128 Фантазията. 131 От афекта към
чувството. 132 Представяне и изразяване. 136 Общата и музикалната естетика. 137 Позитивните
тези. 140 Музикалният израз. 142 Музикалният
смисъл. 147 Феноменология на музикално красивото. 148 Естетическото изследване. 153 Естетическият предмет. 157 Съзерцанието. . Естетическият радикализъм. 162 Понятията на музикалната естетика.166 Съдържание, предмет, материал. 170 ШОПЕНХАУЕР. „ Светът като воля и представа “ Изкуство и гений. Музиката като алегория. 6 174 175 177 181
Мястото на музиката в разбирането за света. 186 Движението на музиката от волята към изкуството. 189 Човешкото битие.193 „ За метафизиката на музиката
“. 194 НИЦШЕ. 205 Дионисово(то) и Аполоново(то). 208 „Раждането на трагедията от духа на
музиката“.209 Естетическата метафизика. 213 Музиката и формите на езика. 218 „ Сънят на Сократ “ в тълкуването на Ницше.223 Място и посока на
движение. 226 Буквата и духът на понятията. 229 „ За музиката и словото “. 231 МУЗИКАЛНАТА
ХЕРМЕНЕВТИКА.241 Кречмар.241 Шеринг. 246
Швайцер. 252 Е. М. Форстър и Томас Ман. 268 РАДИКАЛНИЯТ ДВАЙСЕТИ
ВЕК. 272 ШЬОНБЕРГ. 274 Идеята за творчеството.275 Музика и
истина.277 Идеята и музикалната идея. 278 Идеята за метода. 280 Новото като
първо.282 Императивът на представянето.284 Grundgestalt (основен образ). 285 Носталгия по науките за
числото. 286 Музикалният език.288 Две писма до Феручо Бузони. 290 „Мнение или прозрение?
“.298 „Как човек става самотен “.300 „ Сърце и ум в музиката “.302 „Моето
развитие“. 305 „Новата музика; моята музика ". 307 7
„ Дванайсеттоновата композиция “.3 ^ „Композицията с дванайсет тона (1) “.312 „ Проблеми на хармонията “. 316 „Проблеми в изкуството на обучението
“. 318 „Нова музика, старомодна музика, стил и идея ‘.320 „Отношението към текста“.323 АДОРНО. 327
Диалектическият метод. 328 „Антиномия на Новата музика".336 „Безучастност “. 339 „Шьонберг и
прогресът“. 344 Музикалнофилософски ядра във философията на Новата музика. 344 Музикалният
израз. 346 Истина и привидност. 350 Експресионизмът в музиката. 351
„Композиторите“.356 Summary.368 8
THE KNOWLEDGE OF MUSIC. Historical Reflections, Philosophical Perspectives Volume 2 Kristina Yapova The second volume of the book dedicated to the knowledge of music continues to trace the epochs through which it transitions by means of using the approach adopted in the first volume yet again. This approach aims, by going deep back into the history of the ideas of music, to derive from it certain philosophical perspectives which it carries within itself, and to send them forth towards present-day musicology. Each of the centuries within the time frame from the 17th to 20th century is marked by something novel. Even the first of them (examined in the first section: Baroque Music) brings on significant changes which shake the foundations of what has been established under Boethius’ authority. The structural equilibrium ֊ which has up until then distinguished the “three musics”, i.e. musica mundana, musica humana and musica instrumentalis - gets disrupted under the pressure of an increased interest in the humana - instrumentalis relationship which, furthermore, appears as feedback, insofar as it is governed by the idea of the manner in which the latter, sounding music, exercises control over the former, human music. Another, equally strong structure, also secured under Boethius’ authority, gets affected by the changes, too. This is the structure of the quadrivium. Reserving its place in it, the science called musica opens up outwards so as to connect with the sciences of the trivium, and first and formemost ֊ with rhetoric. As a result of such opening, yet another third
structure, namely the one of music as a whole, undergoes transformation. Hitherto bipartite, i.e. made up 368
of musica theorica and musica practica, it now becomes tripartite with the appearance of a new unit ֊ musica poetica. In the next century (Section Two: 18th Century ֊ Changes and Contradictions) serious transformations in the knowledge of music take place. Under their influence the relationship between music and philosophy acquires a new form. Unlike the previous century where the leading figure pushing forward the thinking about music, introducing novelty into it and opening new perspectives in it, is the Baroque-minded musicus ֊ a participant now goes up on the historical stage who enters into a debate with him. This participant is the universal philosopher. Stepping into the 18th century he finds a well-developed science of music, which accepts “as its own” only people who have mastered its knowledge and have been initiated into its mysteries, and allows no intrusion by a person who due to a lack of specialist knowledge of music theory cannot engage in a dialogue with them. And although this same century, at least in its beginning, is particularly sensitive to such intrusion, a number of universal ideas (remaining external to music as far as music itself has had no part in constituting their universality) manage to make their way. A typical example in point is the French enlightener Jean-Jacques Rousseau. The 19th century (SectionThree: Philosophy vs. Musical Aesthetics) is marked by a new opposition. Now the relationship between music and philosophy is presented in such a form which can only be metaphorically expressed as syncopation. Syncopation, more specifically,
takes place between the aesthetics of music in its formation as an independent science and the views of prominent philosophers of that century. These philosophers turn to music by seeing in it an embodiment of the· principle underlying their views. Personally speaking, music.ás presented by Hanslik’s aesthetics lives in a world far removed from the worlds in which Schopenhauer and Nietzsche have assighe'd'a rOle to it. The reason for this is the different place in which the essential in music has been positioned: while for Hanslick it is the place where the beautiful in music receives its final sound expression through which it lends itself to the human senses, Schopenhauer and Nietzsche seek the unique in music further and further back towards the primordial in the world: the former, in the immediate closeness to the Will, and the latter, in 369
the primeval Dionysian element. The 20th century (Section Four: The Radical 20th Century) is quite radical in its attitude towards the new. Anovel phenomenon emerges, namely the composer in his capacity of musicus. Up till that time, the figure of the composer has not fallen under this concept. Ever since the ages of Aristoxenus and Boethius, the μουσικός!musicus has always been the one who “knows how” to study music, and not the one how composes it. But thanks to those-who-know-how, the idea of music in its long history has changed in such a way as to also bring about a change in the subject of knowledge. It is not until the twentieth century that the musicus is faced with a new requirement corresponding to another consciousness. It is the requirement of his belonging to such a position of man immersed in existence which allows access to Being. Through the strenuous adherence to this position, called here hearing, human thought is capable of attaining the truth of Being. One composer who pursues the truth in his music and who communicates through his writing in words what he has arrived at thanks to his listening into music is Schoenberg. The book remains with an open ending. Any conclusion would run counter to its idea, namely pursuing perspectives - and they are always open - and to its main topic, namely music - and it always manifests itself through its intrinsic properties, i.e. movement and direction. Translated by Mihail Lukanov 370 |
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| author | Japova, Kristina |
| author_GND | (DE-588)1159217882 |
| author_facet | Japova, Kristina |
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| building | Verbundindex |
| bvnumber | BV047017982 |
| ctrlnum | (OCoLC)1224008727 (DE-599)BVBBV047017982 |
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| era | Geschichte 1600-1900 gnd |
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| format | Book |
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| id | DE-604.BV047017982 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T15:58:32Z |
| indexdate | 2024-07-10T09:00:16Z |
| institution | BVB |
| isbn | 9789548594905 |
| language | Bulgarian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032425501 |
| oclc_num | 1224008727 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 370 Seiten |
| psigel | BSB_NED_20201119 |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Institut za izsledvane na izkustvata - BAN |
| record_format | marc |
| spelling | Japova, Kristina Verfasser (DE-588)1159217882 aut Znanieto za muzikata istoričeski refleksii, filosofski perspektivi Tom 2 Kristina Japova 880-01 Părvo izdanie Sofija Institut za izsledvane na izkustvata - BAN 2020 370 Seiten txt rdacontent n rdamedia nc rdacarrier Zusammenfassung in englischer Sprache Text bulgarisch Kyrillisch Geschichte 1600-1900 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Musikphilosophie (DE-588)4123809-6 gnd rswk-swf Musik (DE-588)4040802-4 s Musikphilosophie (DE-588)4123809-6 s Geschichte 1600-1900 z DE-604 (DE-604)BV046650003 2 Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032425501&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032425501&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032425501&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 25 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032425501&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Abstract 250-01/(N Първо издание |
| spellingShingle | Japova, Kristina Znanieto za muzikata istoričeski refleksii, filosofski perspektivi Musik (DE-588)4040802-4 gnd Musikphilosophie (DE-588)4123809-6 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4123809-6 |
| title | Znanieto za muzikata istoričeski refleksii, filosofski perspektivi |
| title_auth | Znanieto za muzikata istoričeski refleksii, filosofski perspektivi |
| title_exact_search | Znanieto za muzikata istoričeski refleksii, filosofski perspektivi |
| title_exact_search_txtP | Znanieto za muzikata istoričeski refleksii, filosofski perspektivi |
| title_full | Znanieto za muzikata istoričeski refleksii, filosofski perspektivi Tom 2 Kristina Japova |
| title_fullStr | Znanieto za muzikata istoričeski refleksii, filosofski perspektivi Tom 2 Kristina Japova |
| title_full_unstemmed | Znanieto za muzikata istoričeski refleksii, filosofski perspektivi Tom 2 Kristina Japova |
| title_short | Znanieto za muzikata |
| title_sort | znanieto za muzikata istoriceski refleksii filosofski perspektivi |
| title_sub | istoričeski refleksii, filosofski perspektivi |
| topic | Musik (DE-588)4040802-4 gnd Musikphilosophie (DE-588)4123809-6 gnd |
| topic_facet | Musik Musikphilosophie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032425501&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032425501&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032425501&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032425501&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV046650003 |
| work_keys_str_mv | AT japovakristina znanietozamuzikataistoriceskirefleksiifilosofskiperspektivitom2 |
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