Singing the World: towards a Phenomenology of Nineteenth-Century Lied

这个项目通过现象学的视角，特别是采用了梅洛-庞蒂的思想，调查了一组浪漫主义说唱者。我认为这个框架更新了一种音乐知识，纠正了一些当代音乐学将音乐变成“运载语义货物的空卡车”的趋势(Johnson 2020：9)。The Led是浪漫主义主体性的典型媒介，其中个人和社会、躯体和语义处于不断对话中，与梅洛-庞蒂的身体本体论产生共鸣，该本体论通过沉默、深度、束缚、想象、感觉团结、歌唱世界和世界的肉体等概念来阐述。这些概念，当被用作形式涌现的分析工具时，消除了主语、宾语和谓词之间的鸿沟，提供了一种新的音乐意义范式，重塑了音乐作为“音乐”(Hanslick，Zangwill)和音乐作为“话语”(Wagner，Kramer)之间的辩论。本文借鉴了现有的浪漫主义歌曲/主体性/哲学、音乐文本分析和肉体音乐学的文献，同时增加了一个公开的现象学维度。

This project investigates a selection of Romantic lieder through a phenomenological lens, adopting, in particular, the ideas of Merleau-Ponty. I argue this framework renews a musical knowing that rectifies the tendency of some contemporary musicology to turn music into 'empty trucks for the carrying of semantic freight' (Johnson 2020: 9). The lied, a quintessential medium for Romantic subjectivity where the personal and the social, the somatic and the semantic are in constant dialogue, resonates with Merleau-Ponty's body oriented ontology, formulated through concepts such as silence, depth, enlacement, the imaginal, felt solidarity, singing the world and 'the flesh of the world'. These concepts, when used as analytical tools formusical emergence, dismantle the gulf between subject, object and predicate, providing a new paradigm of musical meaning that reshapes the debate between music as 'music' (Hanslick, Zangwill) and music as'discourse' (Wagner, Kramer). This thesis draws on existing literature on Romantic song/subjectivity/philosophy, musico-textual analysis and carnal musicology while adding an overt phenomenological dimension.