Hanslick’s Understanding of Music
| Autor: | Tomislav Škrbić |
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| Rok vydání: | 2016 |
| Předmět: | |
| Zdroj: | Filozofska istraživanja Volume 36 Issue 2 |
| ISSN: | 1848-2309 0351-4706 |
| Popis: | Premda se Hanslickova estetika glazbe pretežito podvodi pod »formalizam«, Hanslickov imanentistički pristup glazbi predstavlja svojevrstan odmak od tzv. estetičkog formalizma. Glazba po Hanslicku ne može ni izazivati ni prikazivati osjećaje, ali može izraziti njihov dinamički aspekt (kretanje). »Glazbenoduhovni sadržaj«, kao ono imanentno bića glazbe, za Hanslicka je zapravo konkretno jedinstvo melodijskih, harmonijskih i ritmičkih formi (glazbeno lijepo). Razvijanje glazbenog sadržaja odvija se istodobno s razvijanjem glazbenih formi djela. Međutim, Hanslickovo povezivanje glazbeno lijepog s onim formalnim »otvara« prostor za pojavu »moderne« glazbe u kojoj dolazi do krajnjeg razdvoja disonance od konsonance. Ono pak što u konačnici povezuje »klasičnu« i »modernu« glazbu je ontološki aspekt glazbene umjetnosti, koji se u slučaju »klasične« glazbe oslanja na estetičku moć tonskog izraza, a u »modernoj« je prvenstveno upućen na racionalnost. Pored toga, u »modernoj« je glazbenoj umjetnosti djelo osebujni »egzistencijalni modus« racionaliteta onog glazbenog, dok je u »klasičnoj« tek jedan od modaliteta egzistencije bića glazbe. Even though Hanslick’s aesthetics of music is mostly subsumed under “formalism”, it should be said that Hanslick’s immanentistic approach to music represents some kind of detachment from so-called aesthetic formalism. Music, according to Hanslick, can neither provoke nor portray emotion, but can only express the dynamic aspect (motion) of emotion. For Hanslick, the “musical-spiritual content”, as that which is immanent in the being of music, is in fact a concrete unity of melodic, harmonic and rhythmic forms (the musically beautiful). The development of musical content unfolds simultaneously with the development of the musical forms of a piece. However, Hanslick’s linking the musically beautiful with that which is formal “opens” the door to the emergence of “modern” music, in which the final separation between dissonance and consonance occurs. That which ultimately connects “classical” and “modern” music is the ontological aspect of the art of music, which in the case of “classical” music relies on the aesthetic power of tonal expression, while in “modern” music it is primarily directed at rationality. Furthermore, in the “modern” art of music, a piece of music is a peculiar “existential modus” of the rationality of the musical, while in the “classical” art of music, it is but one of the modalities of existence of the being of music. |
| Databáze: | OpenAIRE |
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