München, Phil. Diss. v. 1918 (25. Mai 1916), Ref. Baeumker. / [Geb. 16. April 92 Karlsruhe i. B. ; Wohnort : München ; Staatsangeh. : Baden ; Vorbildung : G. Karlsruhe Reife 11 ; Studium : Heidelberg Med. 1, Phil. 3, München 5 S. ; Rig. 25. Mai 16.].

Thesis (doctoral)--R. Ludwig-Maximilians-Universität zu München, 1916. / Bibliography: p. [vii]-viii.

Esta dissertação trata da questão do significado da música segundo a filosofia da arte de G. W. F. Hegel e as problematizações musicológicas de E. Hanslick, tendo como principal objetivo apresentar o modo como cada autor tratou desse tema, mas apontando alguns aspectos referentes à maneira como Hanslick dialogou com Hegel, e que estariam diretamente vinculados a uma transformação do modo de conceber a música autônoma instrumental, principalmente no que se refere ao significado da forma musical, em função da maneira como cada autor concebeu sua relação com o conteúdo tendo em vista que Hegel se posicionou como filósofo da arte e Hanslick como musicólogo. O cerne do trabalho está fundamentado na análise do capítulo referente à música dos Cursos de Estética, de Hegel, e na análise de Do Belo Musical, de Hanslick, assim como no repertório musical a que cada autor esteve exposto. / This dissertation deals with the question of the meaning of music according to the philosophy of art of G. W. F. Hegel and the musicological problematizations of E. Hanslick. The main objective is to present the way in which each author deals with this theme, but pointing out some aspects referring to the way Hanslick dialogued with the Hegelian aesthetics and that would be directly linked to a transformation of the way of conceiving autonomous instrumental music, especially with regard to the meaning of the musical form, in function of the way each author conceived its relation with the content, in view of the fact that Hegel was a philosopher of art and Hanslick a musicologist. The core of this work is based on the analysis of the chapter on music of Hegel\'s Lectures on Aesthetics and Hanslick\'s essay On the Musically Beautiful, as well as on the musical repertoire that both authors were exposed to.

Malgré les efforts des différents travaux philosophiques sur la musique, il manque toujours une philosophie de l’opéra. Le travail que nous proposons tente de combler cette lacune, en concentrant ses recherches sur une période précise, le dix-neuvième siècle allemand. Ce choix se justifie par l’imprégnation philosophique des différents discours tenus sur la musique à cette époque, ainsi que par l’importance acquise par le répertoire austro-allemand dans la musique effectivement jouée aujourd’hui. Le manque de philosophie traitant de l’opéra de manière directe et sérieuse nous a conduit, dans un geste qui donne l’orientation générale de notre travail, à étudier des auteurs ne faisant pas à proprement parler partie du monde philosophique académique. Les trois guides que nous avons retenus pour ce travail sont successivement E.T.A. Hoffmann, Hanslick et Wagner. Les réflexions développées par ces auteurs permettent en effet à une pensée attentive de remédier à l’impression d’une absence de philosophie de l’opéra. Hors du monde universitaire mais non contre lui, les réflexions des trois penseurs que nous avons étudiés dessinent un cadre que nous avons choisi comme berceau de notre travail sur l’opéra. Nous mobilisons à cette fin les concepts d’impureté et de compromission, et nous nous efforçons de leur donner un sens positif et une valeur effective. La tâche d’élucider ce que fut historiquement l’opéra allemand exige l’aide de la philosophie. Mais la philosophie est également indispensable lorsqu’il s’agit de mettre au jour les forces conceptuelles qui le sous-tendent. Celles-ci permettent de construire une pensée de l’opéra en général, à travers leurs enseignements et leurs apories. C’est alors tout l’enjeu de ce moment où l’opéra est enfin compris comme « problème » qui se met au jour.Le lecteur trouvera également, en annexe de ce texte, la traduction inédite de douze articles de critique musicale d’Eduard Hanslick. / In spite of numerous philosophical works upon music, there is no philosophy of opera. My work aims to fill the gap by concentrating on one specific period, nineteenth century Germany. This was chosen because of the patently philosophical implications of several different views of music at the time, as well as the importance of the Austro-German repertoire in music played today. The lack of philosophy dealing directly and seriously with opera has led me to authors who stood apart from the strictly academic world of philosophy, and this has guided my work’s orientation. The three guides I have chosen are, successively, E.T.A. Hoffmann, Hanslick and Wagner. Carefully considered, their reflections allow us to correct the impression of a lack of philosophy of opera. Although outside the realm of academic philosophy (but not against it), their thinking provides a framework and a basis for my own work on opera. To this end, I take the concepts of impurity and compromise and try to give them a positive meaning and practical value. What German opera was historically needs philosophy to elucidate it, but philosophy also proves indispensable to revealing the conceptual forces that sustain it. The lessons and aporias of the latter allow one to construct a general philosophy of opera. The moment becomes clear when opera is finally understood to be a “problem”, with all the implications of this.The reader will also find, as appendix, the translation of twelve articles of musical criticism by Eduard Hanslick unpublished in French up to now.

Beruht auf Diss. Brandeis Univ., 2001. / Includes bibliographical references (p. 195-205) and index.

Reproduction de : Thèse de doctorat : Littérature française : Le Mans : 2005. / Titre provenant de l'écran-titre. Bibliogr. p. 393-401.

[pt] O presente trabalho discorre sobre o estatuto da música na terceira crítica de Immanuel Kant e no livro Do Belo Musical de Eduard Hanslick. A Crítica da Faculdade do Juízo trata da impossibilidade de um belo musical a partir dos conceitos de forma, reflexão, do belo como símbolo do moralmente bom e da relação entre música e afetos. Por outro lado, Hanslick confere à música o estatuto de bela arte ao desassociar o conteúdo afetivo subjetivo do próprio material constitutivo da obra musical, para ele, sons em movimento. Para atingir tal objetivo, Hanslick se utiliza do conceito de fantasia como uma contemplação com intelecto, anterior a qualquer interesse ou desinteresse. Assim, as duas concepções influenciam e refletem o pensamento filosófico sobre estética musical entre o século XVIII e o século XIX. O texto se estrutura em dois capítulos: o primeiro se volta para a Crítica da Faculdade do Juízo em sua segunda edição publicada em 1793, enquanto que o segundo aborda o livro de Eduard Hanslick publicado primeiramente em 1854. A conclusão do trabalho aponta para a influência das idéias discutidas pelos dois autores nas obras de Georg Wilhelm Friedrich Hegel e Arthur Schopenhauer, como também para um possível ajuizamento do belo musical a partir de um elemento desconsiderado tanto por Kant quanto por Hanslick: o tempo. / [en] This paper discusses the status of music in the third critique of Immanuel Kant and the book On the Beautiful in Music of Eduard Hanslick. The Critique of Judgment comes from the impossibility of a beautiful musical based on the concepts of shape, reflection, beautiful as a symbol of the morally good and the relation between music and affection. However, Hanslick gives the music the status of fine art to disassociate the subjective affective content of material used for the musical work itself, for him, sounds in movement. To achieve this objective, the author uses the concept of fantasy as a contemplation with intellect prior to any interest or disinterest. Thus, the two conceptions of music influence and reflect the philosophical thought on aesthetics between the eighteenth and the nineteenth century. The work is divided into two chapters: the first turns to the Critique of Judgment in its second edition published in 1793 while the second addresses Eduard Hanslick s book first published in 1854. Completion of this work points to the influence of ideas discussed by the authors in the works of Georg Wilhelm Friedrich Hegel and Arthur Schopenhauer, as well as for possible prosecution of the beautiful music from an element disregarded by Kant and by Hanslick: the time.

Submitted by FERNANDO LUIZ ALENCAR FILHO null (fernandoalencarfilho@gmail.com) on 2018-04-20T20:58:25Z No. of bitstreams: 1 A CRÍTICA DE HANSLICK À MUSICA ENQUANTO MEIO A PARTIR DA PERSPECTIVA DA DÉCADENCE NIETZSCHIANA.docx: 1101044 bytes, checksum: 597cda126b1291295cb8664680b03655 (MD5) / Rejected by Satie Tagara (satie@marilia.unesp.br), reason: Para enviar o arquivo contendo sua dissertação ou tese é necessário que: - o arquivo esteja no formato Portable Document Format (PDF); - o arquivo não esteja protegido; - o texto do arquivo PDF submetido ao Repositório deve ser idêntico à versão impressa e ser a versão final do trabalho, incluindo as modificações realizadas após a defesa. on 2018-04-23T14:38:46Z (GMT) / Submitted by FERNANDO LUIZ ALENCAR FILHO null (fernandoalencarfilho@gmail.com) on 2018-04-23T20:16:09Z No. of bitstreams: 1 A CRÍTICA DE HANSLICK À MUSICA ENQUANTO MEIO A PARTIR DA PERSPECTIVA DA DÉCADENCE NIETZSCHIANA.pdf: 814665 bytes, checksum: 78dea8e4bf6b92e50bb63ca461015f48 (MD5) / Approved for entry into archive by Satie Tagara (satie@marilia.unesp.br) on 2018-04-24T14:22:51Z (GMT) No. of bitstreams: 1 alencarfilho_fl_me_mar.pdf: 814665 bytes, checksum: 78dea8e4bf6b92e50bb63ca461015f48 (MD5) / Made available in DSpace on 2018-04-24T14:22:51Z (GMT). No. of bitstreams: 1 alencarfilho_fl_me_mar.pdf: 814665 bytes, checksum: 78dea8e4bf6b92e50bb63ca461015f48 (MD5) Previous issue date: 2016-03-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Em Do Belo Musical, Hanslick se detém em uma pormenorizada análise do que seja propriamente o belo na música. Para tanto, antes de enunciá-lo, o autor tece duras críticas à perda de autonomia da música que se verificava largamente em sua época. A referida perda de autonomia se evidenciava através da fruição estética predominante, a qual se traduzia como um mero voltar-se para o sentimentos e “imagens” supostamente suscitados e representados pela música. A essa particular espécie de fruição estética Hanslick denomina de fruição patológica, posto que tal espécie de fruição privilegia outra coisa que não exclusivamente a relação e concatenação entre os sons. Enquanto isso, em seus últimos anos de atividade filosófica e, particularmente, com O Caso Wagner, Nietzsche nos presenteia com uma análise excepcionalmente original e minuciosa do procedimento wagneriano na música, identificando-o com o que ele conceitua como décadence artística, sendo esta mero sintoma de uma outra espécie primordial de décadence, a saber, a fisiológica. O presente trabalho ambiciona estabelecer um ponto de contato firme entre o fruir patológico tal como Hanslick o compreende e o conceito de décadence em sua completude. Mais ainda, pretende-se, mediante a perspectiva da décadence, estabelecer a causa prima da fruição patológica diagnosticada por Eduard Hanslick. / In Vom Musikalisch-Schönen, Hanslick dwells on a detailed analysis of what is beautiful in music. To this end, before expressing it, the author criticizes the loss of autonomy of music that was widely verified in his time. The aforementioned loss of autonomy was evidenced by the prevailing aesthetic fruition, which was translated as a mere turning to the feelings and "images" supposedly aroused and represented by music. To this particular kind of aesthetic fruition Hanslick calls the pathological fruition, since such a kind of enjoyment privileges something other than exclusively the relation and concatenation between sounds. Meanwhile, in his later years of philosophical activity and particularly with Der Fall Wagner, Nietzsche presents us with an exceptionally original and thorough analysis of the Wagnerian procedure in music, identifying it with what he conceptualized as artistic décadence, being this mere symptom of another primordial species of décadence, namely, physiological. The present work aspires to establish a firm point of contact between the pathological fruition as Hanslick understands it and the concept of décadence in its completeness. Moreover, it is intended, through the perspective of décadence, to establish the primary cause of the pathological fruition diagnosed by Eduard Hanslick.

No description available.

Ce travail propose une théorie générale de l'interface entre deux dimensions du fait musical : sa dimension sémantique (les significations que la musique peut contenir) et sa dimension pragmatique (ses usages en contexte). Cette théorie se situe dans une perspective naturaliste, au carrefour de trois disciplines : la philosophie de l'esprit, la psychologie cognitive et la musicologie historique. Elle part du postulat que la sémantique et la pragmatique de la musique sont des cas particuliers de certaines normes universelles (par exemple la norme de vérité) et certaines dispositions cognitives et sociales de l'être humain, pour l'essentiel non spécifiques à ce qu'on appelle la musique, l'art et l'esthétique. La première partie trace les grandes lignes de la théorie. Elle se fonde sur les travaux du linguiste et philosophe Philippe Schlenker. On y défend deux thèses principales : une thèse sémantique et une thèse pragmatique. La thèse sémantique soutient que toute signification musicale est indexicale, c'est-à-dire que toute signification musicale consiste dans le fait d'attribuer à une unité formellement cohérente de sons musicaux un ensemble de causes probables. Ces causes probables des sons musicaux peuvent être des entités réelles et/ou fictives, des entités objectives et/ou subjectives, des entités productrices de son ou non. Dans tous les cas, ces entités sont situées dans le contexte d'écoute de la musique, et la musique les « indique » à l'auditeur (d'où le terme « indexical »). Ces entités sont alors tenues pour être les contenus indexicaux vrais ou faux de la musique. La thèse pragmatique soutient que toute communication en musique consiste à organiser intentionnellement (y compris à distance, via des dispositifs de médiation adéquats, tels que des programmes, des techniques et lieux d'écoute, des rituels et autres conventions) la relation entre la musique composée/interprétée d'une part, et le contexte effectif ou supposé où cette musique sera perçue d'autre part, de sorte à maximiser la pertinence des significations indexicales, vraies ou fausses, inférées de l'écoute musicale dans ce contexte. La seconde partie du travail approfondit ces thèses en étudiant en détail trois phénomènes sémantico-pragmatiques suffisamment riches et complexes : la fiction, la narration et l'évocation. Cette seconde partie est bâtie sur l'analyse de trois poèmes symphoniques de Franz Liszt (Hamlet, Tasso et Mazeppa). Elle est ancrée dans le contexte de la querelle entre la musique à programme et la musique pure, qui a agité les milieux musicaux au XIXe siècle autour des mêmes problématiques que celles de ce travail. / This PhD aims to build a general theory of the interface between two dimensions of music : its semantic dimension (i.e. the meaningful nature of music) and its pragmatic dimension (i.e. the uses of music in context). The theory is grounded in a naturalistic perspective, at the intersection of three disciplines :philosophy of mind, cognitive psychology and historical musicology. The basic premise is that semantics and pragmatics of music are just particular cases of certain universal norms (i.e. the norm of truth) and certain social-cognitive dispositions of the human being, essentially non specific to what is usually called music, art or æsthetics. The first part outlines the main aspects of the theory, building on the work of linguist and philosopher Philippe Schlenker. We defend two claims :a semantic one and a pragmatic one. The semantic claim is that every musical meaning is indexical. In other words, a musical meaning is the set of possible causes attributed to a formally coherent unit of musical sounds, be they real and/or fictional causes, objective and/or subjective causes, sound producing or not sound producing causes. In any case, these possible causes are entities that are located within the listening context and are “indicated” by the music to the listener (hence the use of the word “indexical”). The entities that have possibly caused the musical sounds are, then, considered to be the true or false indexical content of the music. The pragmatic claim is that communication in music consists in organizing intentionally (including indirectly, at a distance, by means of relevant devices, such as programs, listening technologies, performance places, rites and other conventions, etc.) the relation between the composed and/or performed music and the supposed or effective context where the music would be listened, in order to enhance as much as possible the relevance of the true or false indexical meanings, inferred from the musical listening in this context. In the second part, the two hypotheses are further investigated by focusing on more complex semantico-pragmatic issues. We propose an in-depth analysis of three phenomena : fiction, narration and evocation. This three-part study is based on a detailed analysis of three symphonic poems by Franz Liszt (Hamlet, Tasso and Mazeppa). It is also grounded in the context of a central episode of 19th Century musical life :the quarrel between program music and pure music about the same semantic and pragmatic issues. / Doctorat en Langues, lettres et traductologie / info:eu-repo/semantics/nonPublished