Chapter One introduces the problem that existed in music and logic-psychology at the end of the 19th century. Both music and logic-psychology were in the cul-de-sac of relativism, which had led to obscurity of method and language. Asthetics-criticism is seen to be in the same relativistic position. It is postulated that phenomenological method could aid in music criticism and aesthetic awareness. The second chapter presents a motivic, or Idea, analysis of Schoenberg's second and third string quartets, showing how the twelve-tone method was developed as a way of curing musical composition of the tonal obscurity of late Romanticism. The third chapter is a short exposition of Husserl's development of phenomenological method from his initial work in logic and mathematics to transcendental phenomenology. Chapter Four discusses some of the methodological parallels between Schoenberg and Husserl. Parallels are drawn from all creative periods of their respective work. Chapter Five focuses on similar problems raised in contemporary aesthetic-criticism and their relationship to the methods of Husserl and Schoenberg. Showing how both men solved their problems, a solution is projected for aesthetics-criticism.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc662979 |
| Date | 08 1900 |
| Creators | Kimmey, John A. |
| Contributors | Newlin, Dika, 1923-2006, Owsley, Richard M. |
| Publisher | North Texas State University |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | xxiv, 196 leaves: ill., music, Text |
| Rights | Public, Kimmey, John A., Copyright, Copyright is held by the author, unless otherwise noted. All rights |
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