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

本计画以现象学的透镜，特别是梅洛-庞蒂的观点，来探讨浪漫主义艺术歌曲的选段。我认为这个框架更新了一种音乐认知，纠正了某些当代音乐学将音乐变成“承载语义货物的空卡车”的倾向（约翰逊，2020：9）。谎言是浪漫主义主体性的一个典型媒介，其中个人和社会，身体和语义不断对话，与梅洛-庞蒂的身体导向本体论产生共鸣，通过沉默，深度，缠绕，想象，感觉团结，歌唱世界和“世界的肉体”等概念制定。当这些概念被用作音乐涌现的分析工具时，它们消除了主语、宾语和谓语之间的鸿沟，提供了一种新的音乐意义范式，重塑了音乐作为“音乐”（汉斯利克、赞格威尔）和音乐作为“话语”（瓦格纳、克雷默）之间的争论。本文借鉴了现有的文学浪漫主义歌曲/主体性/哲学，音乐文本分析和肉欲音乐学，同时增加了一个明显的现象学维度。

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.