Music Philosophy After Adorno

这个跨学科的研究项目基于对阿多诺的批判性参与，发展了音乐哲学的轮廓。它出现于2011年，旨在论证一种哲学方法，在这种方法中，音乐学和哲学理论进入一种互惠关系，这种关系既不基于等级制度，也不基于根据学科类别体验主题的方法论区别。2014年，一场冲突的出现改变了这个项目，现在形成了申请延期的理由。它可以被描述为“技术”和“投机”元素之间的冲突。第一种是从音乐作品开始的，通过对作品本身的具体性质的分析和批判来发展它的类别。研究不是哲学之外的领域，而是哲学工作本身的一种模式。人们还会发现越来越多的思辨问题学的出现，它超越了系统的音乐学方法。这是因为阿多诺在与贝多芬的交往中，揭示了他思想中具体的经验元素，这意味着他不是把它们转移到音乐上，而是通过音乐来体验和展开它们。这带来了一个新的话语领域，它改变了跨学科的元素，并以不同的视角呈现了哲学与音乐之间的关系。然而，对于阿多诺来说，如果贝多芬不仅仅是一个杰出的研究对象，而是一种预先潜藏在他思想之下的基本事件，那么沉浸在作品中的细节就不够了。因此，必须表明否定辩证法纲领的哪些方面最初是通过与贝多芬的接触而可见的，以及如何在音乐中“辩证逻辑”的话语可以在解释学上与阿多诺区分开来。时间既是阿多诺音乐哲学的中心问题，也是其被忽略的中心问题。我们需要的是通过对贝多芬和瓦格纳的诠释来塑造这个中心。在这两位作曲家的作品中，时间都是以一种令人兴奋的多元却又相对系统化的方式作为音乐形式的对象。哲学时间理论可以从这种时间研究中学习。除此之外，贝多芬的片段比近代大多数美学更深刻、更具体地驳斥了“艺术的哲学剥夺”的神话。哲学思想在这里与各种音乐元素亲密接触。然而，这并不是对哲学理性任务的浪漫主义逃避，而是一种完全合理的洞察，即如果哲学将艺术在全球范围内简化为“差异”“他性”等，从而最终使其摆脱任何更广泛的意义和世俗的重量——历史的、政治的和存在的。

This interdisciplinary research project develops outlines of a music philosophy based on a critical engagement with Adorno. It came about in 2011 to argue the case for a philosophical approach in which musicology and philosophical theory enter a reciprocal relationship, one based neither on hierarchies nor on the methodological distinction of experiencing topics according to categories of disciplines. 2014 saw the emergence of a conflict that changed the project and now forms the reason to apply for a continuation. It can be characterized as a conflict between a ‘technical’ and a ‘speculative’ element. The first of these proceeds from the musical work, developing its categories through an analysis and critique of the work’s own specific nature. Research is not an area outside of philosophy, but rather a mode of philosophical work itself. Then one also finds an increasing emergence of a speculative problematics which goes beyond the systematic musicological approach. It is ignited by the fact that Adorno, in his engagement with Beethoven, discloses specific experiential elements of his thought, meaning that he not so much transfers them onto music but rather experiences and unfolds them through music. This brings into play a new area of discourse which modifies the interdisciplinary element and presents the relationship between philosophy and music in a different light. If Beethoven is more than an outstanding object of examination for Adorno, however, and rather a form of basic event underlying his thought in advance, then an immersion in details, in the works, is no longer enough. It must therefore be shown what aspects of the programme of negative dialectics are originarily made visible through an engagement with Beethoven, and how the discourse of »dialectical logic« in music can be hermeneutically differentiated from Adorno. Time is both the central problem of Adorno’s music philosophy and its omitted centre. What is necessary is to give shape to this centre through interpretations of Beethoven and Wagner. In the works of both composers, time is an object of musical forms in an excitingly plural, yet relatively systematizable way. A philosophical theory of time can learn from such temporal research. Independently of this, the fragments on Beethoven refute the myth of the »philosophical disenfranchisement of art« more profoundly and specifically than do most aesthetics of recent times. Philosophical thought here forms in an intimate engagement with diverse musical elements. Yet this is not some romantic evasion of the tasks of philosophical reason, but rather the entirely reasonable insight that philosophy becomes impoverished if it reduces art globally to »difference« »otherness« etc., and thus ultimately rids it of any wider meaning and worldly weight – historically, politically and existentially.