Publication of the book “Hörsinn und ‚Ton‘. Ästhetische Anthropologie der Musik nach Herder und Händel“ ["Sense of Hearing and ‘Tone’. Aesthetic anthropology of music according to Herder and Handel "]

出版《听力和音调》一书。

• 批准号: 470458481
• 负责人: Dr. Rainer Schmusch
• 金额: --
• 依托单位国家: 德国
• 项目类别: Publication Grants
• 财政年份: 2021
• 资助国家: 德国
• 起止时间: 2020-12-31 至 2022-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/470458481?language=en
• 关键词: Publication; book; rsinn; und; Ton

In a detailed study of Herder’s writings on aesthetics, his draft of an aesthetic based on the perfor-mance of the human senses is elaborated for music and the sense of hearing It is expanded into a music-analytical method and verified using the example of a contemporary paradigm. The draft is then positioned in the musicological discourse on an “anthropology of music”. As a pioneering thinker of pluralistic cultural research, Johann Gottfried Herder (1744-1803) analyses how living conditions in interaction with physical conditions lead to artistic expressions of people in very different manifestations of self-confidence. He combines cultural anthropology with the "phe-nomenological" analysis of aesthetic subjectivity. The present investigation is designed to be interdisciplinary. In three consecutive studies, it addresses the desiderata of literary and philosophical Herder research as well as music aesthetics and musicology. Herder's conception of music, seldom and mostly anthologically presented, proves to be central to his thinking. The first study: “Aesthetic Sensus Between Empiricism and Metaphysics” systematizes the aesthetic and anthropological implications relating to music using Herder's most progressive aesthetic design, the “4. Kritisches Wäldchen” from 1769, which is supplemented by later writings. The second study, "On the Analysis of Composed Anthropology", develops a method of musical work analysis that includes explicitly and systematically the act of listening and reveals anthropological semantics in structures in the score. This new analytical method is exemplified by Georg Friedrich Handel's oratorical ode Alexander’s Feast (1736), a work in which a conceptual aesthetic effect in the sense of Reception Theory is paradigmatically condensed and still received today. On this basis, in the third study “Musical subjectivity as an anthropological category”, the interface between aesthetics and anthropology is examined, where music is usually considered a rather mar-ginal subject. The “phenomenological” investigation of the structure of consciousness of musical experience has methodological consequences for musicological research. The treatise sees itself as a new draft of music aesthetics and music anthropology, which at the same time honours in a systematic presentation the view of music as a central part of Herder’s thinking.

本文通过对赫尔德美学著作的详细研究，阐述了赫尔德关于音乐和听觉的美学构想，并将其扩展为一种音乐分析方法，并以当代范式为例加以验证。然后，该草案被定位在音乐学话语的“音乐人类学”。作为多元文化研究的先驱思想家，约翰·戈特弗里德·赫尔德（Johann Gottfried Herder，1744-1803）分析了生活条件与物质条件的相互作用如何导致人们以非常不同的自信表现形式进行艺术表达。他将文化人类学与审美主体性的现象学分析结合起来。目前的调查是跨学科的。在三个连续的研究中，它解决了文学和哲学赫尔德研究以及音乐美学和音乐学的迫切需要。赫尔德的音乐概念，很少和大多数选集提出，证明是他的思想中心。第一项研究：“经验主义和形而上学之间的审美感觉”系统化的美学和人类学的影响，有关音乐使用赫尔德的最先进的美学设计，“4。1769年的《世界批判》，后来的著作对此进行了补充。第二项研究，“关于作曲的人类学分析”，发展了一种音乐作品分析的方法，明确和系统地包括听的行为，并揭示了人类学语义的结构中的分数。这一新的分析方法以亨德尔的演说颂歌《亚历山大的盛宴》（1736）为例，这部作品中接受理论意义上的概念美学效果被范式化地浓缩，至今仍被接受。在此基础上，第三个研究“作为人类学范畴的音乐主体性”，考察了美学与人类学之间的接口，其中音乐通常被认为是一个相当边缘的学科。音乐经验意识结构的现象学研究对音乐学研究具有方法论意义。这篇论文将自己视为音乐美学和音乐人类学的新草案，同时以系统的方式展示了音乐作为赫尔德思想核心部分的观点。