Orientador: Jose Oscar de Almeida Marques / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T05:15:28Z (GMT). No. of bitstreams: 1 Justi_VicentedePaulo_D.pdf: 1436170 bytes, checksum: df13abd731e3bf77576a57604166fbd6 (MD5) Previous issue date: 2009 / Resumo: A proposta deste trabalho é verificar o tratamento dado por Immanuel Kant na Crítica da Faculdade do Juízo à música. Sob a aparente desconsideração do autor neste tema, encontra-se uma filosofia densa que provoca reflexões e contribui decisivamente para a discussão sempre atual sobre a apreensão, compreensão e classificação da música. A possibilidade de reconhecermos a música como agradável, bela e sublime constitui-se o núcleo central dos problemas analisados. No primeiro capítulo discutimos os conceitos kantianos apresentados na Terceira Crítica como sensação, sentimento, comoção, afeto, prazer, forma, conformidade a fins, intuição, juízos e reflexão. O problema é verificar se estes conceitos, tal como apresentados por Kant, podem ainda contribuir para a nossa compreensão do fenômeno musical. No segundo capítulo verificamos o mecanismo de funcionamento das faculdades de conhecimento kantianas na apreensão e compreensão do fenômeno musical. O terceiro capítulo é reservado à discussão da possibilidade de classificarmos a música como agradável e as condições desta proposição. A música bela é o tema do quarto capítulo, onde além da discussão do problema que dá nome ao capítulo, analisamos o objeto belo, a teleologia da natureza, a arte mecânica e arte estética, a música bela e a poesia e a teoria kantiana do gênio na produção musical. O quinto capítulo discute a possibilidade e as condições de falar-se em música sublime e as incontornáveis ligações desta classificação com o domínio prático (moral). As conclusões estão centralizadas na questão de que a música bela é a única categoria realmente estética, enquanto a agradável é parcialmente estética e parcialmente prática e a sublime é totalmente prática. A beleza fundada na forma exige a cognição, no sentido de utilização do entendimento sem conceitos. A comoção é aceita na experiência estética se ligada, no sublime, à representação prática (moral) que a arte apresenta ao homem. / Abstract: The aim of this dissertation is to examine Immanuel Kant's treatment of music in his Critique of Judgment. Beneath his apparent neglect for the subject one can find a dense philosophical reflection that decisively contributes to the always current discussion about music perception, understanding and categorization. The possibility of recognizing music as being agreeable, beautiful and sublime is the central interest of the problems I analyze. In the first chapter I discuss Kantian concepts presented in the third Critique such as sensation, sentiment, commotion, affect, pleasure, conformity to ends, intuition, judgment and reflection. My aim here is to decide whether these concepts can still be of use in understanding music as a phenomenon in the way Kant presents them. In chapter two I examine how Kant understands the function of our cognitive capacities in the perception and understanding of music. Chapter three deals with the possibility and conditions for classifying music as being agreeable. Beautiful music is the topic of the fourth chapter, in which I not only discuss the concept of beauty in music, but also analyze the problem of what is a beautiful object, how does teleology work in nature, what is mechanical art as opposed to aesthetic art, beautiful music in its relation to poetry, and the role of Kant's theory of genius in musical creativity. The fifth chapter discusses the possibility and conditions of the sublime in music and the unavoidable links of this category to the domain of morality. My conclusions are that beautiful music is the only really aesthetic category, while the agreeable is only partially aesthetic and partially moral, and the sublime is totally moral. Beauty based on form requires cognition, in the sense of a non-conceptual use of the understanding. Commotion is acceptable in aesthetic experience if it is connected, in the sublime, to a moral representation that art presents to human beings. / Doutorado / Doutor em Filosofia

It is not uncommon to read claims of music’s ability to affect our sense of time and its rate of passage. Indeed, such effects are often considered among the most distinctive and prized aspects of musical aesthetics. Yet when it comes to the similarly abstract notion of space and its manipulation by musical structures, theorists are generally silent. My dissertation addresses this gap in the literature and shows how music’s spatial effects arise through an affective engagement with musical works. In this study, I examine an eclectic selection of compositions to determine how the spaces we inhabit are transformed by the music we hear within them. Drawing on Maurice Merleau-Ponty’s theory of embodied perception, as well as research on acoustics, sound studies, and media theory, I deploy an affective model of spatial perception—a model that links the sense of space with the moment-to-moment needs and desires of the perceiver— to explain how these musical modulations of space occur. My claim is that the manner in which the music solicits our engagement affects how we respond, which in turn affects what we perceive. I begin by discussing the development of recording technology and how fixed media works deemed “spatial music” reinforce a particular conception of space as an empty container in which sound sources are arrayed in specific locations relative to a fixed listening position. After showing how innovative studio techniques have been used to unsettle this conventional spatial configuration, I then discuss examples of Renaissance vocal music, instrumental chamber music, and 20th century electronic music in order to develop a richer understanding of the range of spatial interactions that musical textures and timbres can provide. In my final chapter, I draw upon these varieties of affective engagement to construct a hermeneutic analysis of the spatial experience afforded by Steve Reich’s Electric Counterpoint, thereby modeling a phenomenological method for grounding interpretation in embodied, rather than strictly discursive, practices. By soliciting movement through the call for bodily action, music allows us an opportunity to fit together one world of possibilities with another, thereby providing an occasion for grasping new meanings presented through the work. The spatial aspect of music, therefore, does not consist in merely recognizing an environmental setting populated by individual sound sources. Through the embodied practices of music perception and the malleability of space they reveal, we are afforded an opportunity to reshape our understanding of the world around us.

Much socialist realism art from Soviet-era Russia has been misunderstood by scholars. It has been considered "synthetic art," which ordinary citizens were forced to admire under the Soviet regime. It also has been interpreted as peasant kitsch art because of its seemingly unacademic and unchallenging theoretical language utilized in order to meet the expectations of Soviet communism. This ideology conditioned artists to make art accessible and nationalistic to serve the perceived needs of the Russian proletariat. Nikolai Rakov (1908-1990), a Soviet-era composer, is also all too often received as a second-class socialist realistic composer. There are, however, other approaches to understanding art created in Soviet Union. Within music scholarship, alternative perspectives on Soviet art remain largely unexplored. It is in that spirit that I turn to Rakov, whose works carry his artistic idea of irresistible beauty, elegance, irony and charm. They evoke colorful images and feelings that draw the audience into Rakov's own compositional world despite his reputation of technical simplicity and uninventive language at a glance. In this dissertation, I therefore turn my attention to the aesthetic side of Rakov's music in order to reevaluate his works. In order to achieve this, I develop and utilize a hermeneutical approach grounded in Claude Lévi-Strauss's The Savage Mind to examine and gauge Rakov's musical aesthetics. I closely evaluate two characteristics of Rakov's music through Lévi-Strauss' ideology of bricolage: 1) miniature structure and 2) contingent chords. This dissertation examines three of Rakov's piano works: Variations in B minor, Concert Etudes, and Four Preludes.

Ugolino (c. 1380-1457) wrote one of the largest treatises on music theory in the first half of the fifteenth century. This work, the "Declaratio musicae disciplinae," is comprised of five books that cover everything a musician of the era would need to know, from plainchant to harmonic proportions, from musica practica to musica speculativa. However, the treatise has received contradictory interpretations by modern scholars, some viewing it as mainly practical, others as mainly theoretical. I argue that in Book 2, which deals with counterpoint, Ugolino crystallizes the relationship between theory and practice, while offering distinctive contrapuntal practices. Ugolino presents a unique view music's place in the structure of knowledge, one which is highly dependent on Aristotelian philosophy. He posits that music is a science and that it is a branch not of mathematics, as it had traditionally been categorized, but of natural philosophy. This viewpoint shapes the entire treatise and is evident in the book on counterpoint. There, he presents an Italian tradition of teaching counterpoint known as the "regola del grado." Ugolino is the first author to present this tradition entirely in Latin. In addition, he offers an unusual description of musica ficta. In it, he presents a diagram, the "duplex manus," that mixes together both musica recta and musica ficta. Ugolino's work suggests that theory and practice, although arranged hierarchically, need not be in conflict, and that a treatise such as his can be both eminently practical and highly theoretical.

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This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development. / Art History, Visual Arts & Musicology / M. Mus.

The hypothesis of this study entails the formulation of interpretative solutions for J. S. Bach's Capriccio in B flat major. The "Interpretative Analysis" mentioned in the title, strives to provide a synthesis in which the cognitive understanding of the music can contribute to a more informed aesthetic interpretation of the music. In the ensuing study this objective is realised by examining the origin of the work and the sources from which it was handed down, the style in which the Capriccio was composed and conceived, the performance practices prevalent in the early eighteenth century and the applicability thereof to the music of J. S. Bach, the structure of the Capriccio, and lastly the different instruments on which the Capriccio can be performed and the impact which this choice has on any performance thereof. / Department of Musicology / M.Mus.

“A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” comprend sept chapitres, un prologue et un épilogue. Chaque partie se construit à deux niveaux : (1) à partir des liens qui se tissent entre les phrases contiguës ; et (2) à partir des liens qui se tissent entre les phrases non contiguës. Les incipit des paragraphes forment l’argument principal de la thèse. Le sujet de la thèse, Schein (apparence, illusion, clarté) est abordé de manière non formaliste, c’est à dire, de manière que la forme donne d’elle-même une idée de la chose : illusion comme contradiction imposée. Bien que le sujet de la thèse soit l’illusion, son but est la vérité. Le Chapitre I présente une dialectique de perspectives (celles de Marx, de Lukács, de Hegel, de Horkheimer et d'Adorno) pour arriver à un critère de vérité, compte tenu du contexte d’aveuglement universel de la réification ; c’est la détermination de la dissolution de l’apparence. Le Chapitre II présente le concept d’apparence esthétique—une apparence réversible qui s’oppose à l’apparence sociale générée par l’industrie de la culture. Le Chapitre III cherche à savoir si la vérité en philosophie et la vérité en art sont deux genres distincts de vérités. Le Chapitre IV détermine si l’appel à la vérité comme immédiateté de l’expression, fait par le mouvement expressionniste du 20e siècle, est nouveau, jugé à l’aune d’un important antécédent à l’expressionisme musical : « Der Dichter spricht » de Robert Schumann. Le Chapitre V se penche sur la question à savoir si le montage inorganique est plus avancé que l’expressionisme. Le Chapitre VI reprend là où Peter Bürger clôt son essai Theorie de l’avant-garde : ce chapitre cherche à savoir à quel point l’oeuvre d’art après le Dada et le Surréalisme correspond au modèle hégélien de la « prose ». Le Chapitre VII soutient que Dichterliebe, op. 48, (1840), est une oeuvre d’art vraie. Trois conclusions résultent de cette analyse musicale détaillée : (1) en exploitant, dans certains passages, une ambigüité dans les règles de l’harmonie qui fait en sorte tous les douze tons sont admis dans l’harmonie, l’Opus 48 anticipe sur Schoenberg—tout en restant une musique tonale ; (2) l’Opus 48, no 1 cache une tonalité secrète : à l'oeil, sa tonalité est soit la majeur, soit fa-dièse mineur, mais une nouvelle analyse dans la napolitaine de do-dièse majeur est proposée ici ; (3) une modulation passagère à la napolitaine dans l’Opus 48, no 12 contient l’autre « moitié » de la cadence interrompue à la fin de l’Opus 48, no 1. Considérés à la lumière de la société fausse, l’Allemagne des années 1930, ces trois aspects anti-organiques témoignent d’une conscience avancée. La seule praxis de vie qu’apporte l’art, selon Adorno, est la remémoration. Mais l’effet social ultime de garder la souffrance vécue en souvenir est non négligeable : l’émancipation universelle. / “A Shine of Truth in the ‘universal delusional context of reification’ (Theodor W. Adorno)” defends Adorno’s aesthetics as a theory of advanced, or avant-garde, artworks. Its seven chapters show that aesthetic experience implies liberation from illusion (Schein). Chapter I engages a dialectic of viewpoints to explain how different dialectical thinkers (Marx, Lukács, Hegel, Horkheimer, Adorno) have contributed to a criterion of truth adequate to today’s total delusional context of reification—determinate negation of illusion. Chapter II introduces the concept of artistic aesthetic illusion—a reversible illusion opposed to the social illusions of mechanical musical reproduction and of the culture industry. Chapter III examines the question of whether truth in philosophy is a different kind of truth than truth in art. Chapter IV considers whether truth in twentieth-century Expressionism is a new truth based on immediate expression, in light of an important precedent for Expressionism in Robert Schumann’s “Der Dichter spricht.” Chapter V determines whether inorganic montage is more advanced than Expressionism. Chapter VI takes up a parting suggestion of Peter Bürger: to treat artworks after Dada and Surrealism on the model of “prose” in Hegel’s aesthetics. Chapter VII pursues the idea that Dichterliebe, op. 48, (1840) by Robert Schumann is a true artwork. Three results emerge from this close musical analysis: (1) exploiting, on occasion, an ambiguity in the rules for figuration that permits all twelve tones in the harmony, Schumann anticipates Schoenberg; (2) Op. 48, No. 1 is in a hidden key: to all appearances, its key is either A major or F-sharp minor, but its secret key is the Neapolitan region applied to C-sharp major; (3) the other “half” of the cadence with which Op. 48, No. 1 breaks off suddenly may be found in a brief applied-Neapolitan passage in No. 12. The thesis argued is that the antiorganicity in such a work is advanced with regard to the false reality of 1930s Germany and the place of organicity therein. According to Adorno, the only life-praxis afforded by art is remembrance. But the social effect of remembering social suffering is considerable when the Here-and-Now is its own justification.

Despite its origins in England two hundred years ago, the picturesque continues to influence landscape architectural practice in late twentieth-century New Zealand. The evidence for this is derived from a close reading of the published discourse of the New Zealand Institute of Landscape Architects, particularly the now defunct professional journal, The Landscape. Through conceptualising the picturesque as a language, a model is developed which provides a framework for recording the survey results. The way in which the picturesque persists as naturalised conventions in the discourse is expressed as four landscape myths. Through extending the metaphor of language, pidgins and creoles provide an analogy for the introduction and development of the picturesque in New Zealand. Some implications for theory, practice and education follow.

This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development. / Art History, Visual Arts and Musicology / M. Mus.