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 "]

在详细研究赫尔德的美学著作的基础上，阐述了他对音乐和听觉的基于人类感官表现的美学的草稿，并将其扩展为一种音乐分析方法，并以当代范例为例进行了验证。然后，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·赫尔德（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”分析相结合。目前的研究是跨学科的。在三个连续的研究中，它解决了文学和哲学牧民研究以及音乐美学和音乐学的需求。赫尔德的音乐概念，很少，大多是选集呈现，证明是他的思想的核心。第一项研究：“在经验主义和形而上学之间的美学感觉”，使用Herder最先进的美学设计，“4”，将与音乐有关的美学和人类学含义系统化。1769年的Kritisches Wäldchen，后来的作品补充了这篇文章。第二项研究“作曲人类学分析”，发展了一种音乐作品分析方法，该方法明确而系统地包括聆听行为，并揭示了乐谱结构中的人类学语义。这种新的分析方法体现在乔治·弗里德里希·亨德尔的演讲颂歌《亚历山大的盛宴》（1736）中，在这部作品中，接受理论意义上的概念美学效果得到了范例性的浓缩，至今仍被接受。在此基础上，在第三个研究“作为人类学范畴的音乐主体性”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边缘的主题。对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稿，同时以系统的方式呈现音乐观点，作为赫尔德思想的核心部分。

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.