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.

在详细研究Herder关于美学著作的详细研究中，他基于人类感官的表现的美学草案被详细介绍了音乐，并以音乐的方式将其感知到了一种音乐 - 分析方法，并使用当代范式进行了验证。然后，该草稿将其放在音乐学论述中，以“音乐人类学”。作为多元文化研究的开创性思想家，约翰·戈特弗里德·赫德（Johann Gottfried Herder，1744-1803）分析了与身体状况相互作用的生活条件如何导致人们在自信的截然不同的表现中的艺术表达。他将文化人类学与审美主观性的“ PHE-NOMENOLOGIOD”分析相结合。本研究旨在跨学科。在连续三项研究中，它涉及文学和哲学牧师研究以及音乐美学和音乐学的所需。赫尔德（Herder）对音乐的概念很少出现，大部分是在撰写学上，这是他思想的核心。第一项研究：“经验主义和形而上学之间的美学感觉”使使用Herder最先进的美学设计，“4。KritishesWäldchen”的美学和人类学含义从1769年开始，这是后来的著作。第二项研究“关于人类学的分析”，开发了一种音乐工作分析的方法，其中包括明确和系统地聆听的行为，并揭示了分数中结构中的人类学语义。乔治·弗里德里希·汉德尔（Georg Friedrich Handel）的演说颂歌亚历山大（Alexander's）的盛宴（1736年）示例了这种新的分析方法，其中在接受理论意义上的概念审美效应的作品是典型地凝结的，今天仍然收到。在此基础上，在第三项研究“音乐主观性作为人类学类别”中，研究了美学和人类学之间的界面，其中音乐通常被认为是一个相当多的Mar-Ginal主题。音乐经验意识结构的“现象学”投资对音乐学研究产生了方法论后果。宝藏将自己视为音乐美学和音乐人类学的新草稿，与此同时，在系统的演讲中，这是Herder思想的中心部分。