Music Philosophy After Adorno

阿多诺之后的音乐哲学

• 批准号: 201041883
• 负责人: Dr. Richard Klein
• 金额: --
• 依托单位: Institut für Philosophie
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2011
• 资助国家: 德国
• 起止时间: 2010-12-31 至 2020-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/201041883?language=en
• 关键词: Music; Philosophy; After; Adorno

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.

这个跨学科的研究项目开发的基础上与阿多诺的关键参与音乐哲学的轮廓。2011年，它提出了一种哲学方法，在这种方法中，音乐学和哲学理论进入了一种互惠关系，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年出现了一场冲突，改变了该项目，现在成为申请延续的理由。它可以被描述为一个“技术”和“投机”元素之间的冲突。第一种方法是从音乐作品出发，通过对作品本身的特殊性质的分析和批评来发展其类别。研究不是哲学之外的一个领域，而是哲学工作本身的一种模式。然后，人们还发现，一个超越系统音乐学方法的思辨性问题越来越多地出现。这是由阿多诺在与贝多芬的接触中揭示了他思想中特定的经验元素这一事实点燃的，这意味着他与其说是将它们转移到音乐中，不如说是通过音乐体验和展现它们。这带来了一个新的话语领域，它改变了跨学科的元素，并以不同的方式呈现了哲学与音乐之间的关系。然而，如果贝多芬不仅仅是阿多诺研究的一个突出对象，而是一种预先奠定他思想基础的基本事件的形式，那么，在作品中沉浸在细节中已经不够了。因此，我们必须指出，消极辩证法纲领的哪些方面最初是通过与贝多芬的接触而显现出来的，音乐中的“辩证逻辑”话语如何能够在解释学上与阿多诺区别开来。 时间既是阿多诺音乐哲学的中心问题，又是其被忽略的中心问题。需要的是通过对贝多芬和瓦格纳的诠释来塑造这个中心。在两位作曲家的作品中，时间是音乐形式的对象，以一种令人兴奋的多元，但相对系统化的方式。时间的哲学理论可以从这样的时间研究中学习。 与此无关，贝多芬的片段驳斥了“艺术的哲学剥夺”的神话，比近代大多数美学更深刻和更具体。哲学思想在这里形成与各种音乐元素的亲密接触。然而，这并不是对哲学理性任务的某种浪漫的逃避，而是完全合理的洞察，即如果哲学将艺术全面地简化为“差异”“他者”等，那么哲学就会变得贫乏，从而最终摆脱了它的任何更广泛的意义和世俗的重量-历史上，政治上和存在。