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.

在对赫尔德美学著作的详细研究中，他提出了一种基于人类感官表现力的美学草案，并针对音乐和听觉进行了阐述。它被扩展为一种音乐分析方法，并用一个例子进行了验证。作为多元文化研究的先驱思想家，约翰·戈特弗里德·赫尔德（Johann Gottfried Herder，1744-1803）分析了这一当代范式。他将文化人类学与审美主体性的“现象学”分析结合起来，探讨了生活条件与身体条件的相互作用如何导致人们的艺术表达。连续的研究，它解决了赫尔德的文学和哲学研究以及音乐美学和音乐学的需求，很少且大多以选集形式呈现，事实证明这是他的思想的核心：“美学”。 《经验主义与形而上学之间的感觉》利用赫尔德最先进的美学设计，即 1769 年的“4. Kritisches Wäldchen”，系统化了与音乐相关的美学和人类学含义，并由后来的著作“关于组合人类学的分析”进行了补充。 ”，开发了一种音乐作品分析方法，其中明确且系统地包括聆听行为，并揭示乐谱结构中的人类学语义。这种新的分析方法是以格奥尔格·弗里德里希·亨德尔的演说颂歌《亚历山大的盛宴》（1736）为例，这部作品范式地浓缩了接受理论意义上的概念美学效果，并在此基础上的第三项研究“作为人类学范畴的音乐主体性”中至今仍被接受。 ”，审查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学科。对音乐意识结构的“现象学”研究。这篇论文将自己视为音乐美学和音乐人类学的新草稿，同时系统地阐述了音乐观作为赫尔德思想的核心部分。