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 "]

在对赫德美学著作的详细研究中，他提出的以人的感官表现为基础的美学草案被用来阐述音乐，而听觉则扩展为一种音乐分析方法，并用当代范式的例子进行了验证。然后，该草案被定位在音乐人类学的音乐学话语中。作为多元文化研究的先驱思想家，约翰·戈特弗里德·赫德(1744-1803)分析了生活条件与身体条件的相互作用如何导致人们以截然不同的自信表现出艺术表现。他将文化人类学与审美主体性的“现象学”分析相结合。目前的调查旨在进行跨学科调查。在三个连续的研究中，它解决了文学和哲学牧人研究以及音乐美学和音乐学的愿望。赫德的音乐观很少也大多是以选集的形式呈现出来的，这被证明是他思想的核心。第一项研究：《在经验主义和形而上学之间的美学普查》，使用赫尔德最进步的美学设计--1769年的《4.克里蒂希斯·维尔琴》--系统地阐述了与音乐有关的美学和人类学含义，后来的著作也补充了这一设计。第二项研究《作曲人类学分析》发展了一种分析音乐作品的方法，该方法明确而系统地包括了聆听行为，并揭示了乐谱结构中的人类学语义。这种新的分析方法以乔治·弗里德里希·韩德尔的演说性颂歌《亚历山大的盛宴》(1736)为例，这部作品从接受理论的角度浓缩了一种概念审美效果，至今仍受到欢迎。在此基础上，在《音乐主体性作为人类学范畴》的第三个研究中，我们考察了美学与人类学之间的界面，其中音乐通常被认为是一门比较边缘的学科。音乐经验意识结构的“现象学”考察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稿，同时系统地展示了将音乐作为赫德思想的核心部分的观点。

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.