scholarly journals Roman Ingarden’s theory of intentional musical work

Muzikologija ◽  
2004 ◽  
pp. 155-165
Author(s):  
Jan Stęszewski
Keyword(s):  
Single Layer ◽  
Intentional Object ◽  
Musical Experience ◽  
Musical Work ◽  
Philosophical Reflection ◽  
Works Of Art ◽  
Starting Point

Roman Ingarden (1893-1970) is a representative of the phenomenological trend in philosophy. He pursued his ontological interests in his fundamental treatise Das literarische Kunstwerk that was the starting point for his studies of other areas of art including music. For Ingarden, direct musical experience is a starting point for philosophical reflection, which should be free from any theoretical prejudice. He considers the essence of the musical work in such dimensions as ontological, the work?s structure, its perception and axiology (aesthetics). Ingarden formulates a thesis about a single layer of the musical work, an aspect which distinguishes music from other works of art. A musical work is for him a purely intentional object whose origins spring from creative acts of composers and whose ontological basis rests directly in the score.

scholarly journals A EMERGÊNCIA E “CRISE” DA CONCEPÇÃO MODERNA DE TEMPO E SUAS IMPLICAÇÕES NA REFLEXÃO HISTORIOGRÁFICA E FILOSÓFICA CONTEMPORÂNEAS

2019 ◽  
Vol 16 (28) ◽  
pp. 48-71
Author(s):  
ANTONIO NELORRACION GONÇALVES FERREIRA
Keyword(s):  
Gilles Deleuze ◽  
Walter Benjamin ◽  
Human Sciences ◽  
Philosophical Reflection ◽  
Modern Conception ◽  
Palabras Clave ◽  
Starting Point ◽  
Political Character

Este artigo busca abordar algumas das principais reflexões teórico-metodológicas (algumas com um caráter mais nitidamente político) sobre o tempo no campo das ciências humanas na contemporaneidade. Tem-se como ponto de partida um breve esboço da concepção moderna de tempo. Já que é a constituição e “crise” dessa noção em seus vários desdobramentos que aparece como condição de possibilidade das reflexões que serão aqui abordadas, como: o “campo de experiência” e o “horizonte de expectativa” de Reinhart Koselleck, o tempo redimido em Walter Benjamin e o devir e o acontecimento no tempo não-reconciliado de Gilles Deleuze. Palavras-chave: Tempo. Modernidade.Político.   THE EMERGENCE AND “CRISIS” OF THE MODERN CONCEPTION OF TIME AND ITS IMPLICATIONS FOR CONTEMPORANY HISTORIOGRAPHICAL AND PHILOSOPHICAL REFLECTION Abstract: This article tries to address some of the main theoretical-methodological reflections (some with a more clearly political character) about the time in the field of the human sciences in the contemporaneity. The starting point is a brief outline of the modern conception of time. Since it is the constitution and "crisis" of this notion in its various unfoldings that appears as a condition of possibility of the reflections that will be addressed here, such as Reinhart Koselleck's "field of experience" and the "horizon of expectation", the redeemed time in Walter Benjamin and the becoming and the event in the unreconciled time of Gilles Deleuze. Keywords: Time. Modernity. Political. LA EMERGENCIA Y “CRISIS” DE LA CONCEPCIÓN MODERNA DE TIEMPO Y SUS IMPLICACIONES EN LA REFLEXIÓN HISTORIOGRÁFICA Y FILOSÓFICA CONTEMPORÂNEAS Resumen: Este artículo busca abordar algunas de las principales reflexiones teórico-metodológicas (algunas con un carácter más nítidamente político) sobre el tiempo en el campo de las ciencias humanas en la contemporaneidad. Se tiene como punto de partida un breve esbozo de la concepción moderna de tiempo. En cuanto a la constitución y “crisis” de esa noción en sus diversos desdoblamientos que aparece como condición de posibilidad de las reflexiones que se abordarán aquí, como: el "campo de experiencia" y el "horizonte de expectativa" de Reinhart Koselleck, el tiempo redimido en Walter Benjamin y el devenir y el acontecimiento en el tiempo no reconciliado de Gilles Deleuze. Palabras clave: Tiempo. Modernidad. Político.

scholarly journals THE TURN OF THE SCREW: HENRY JAMES AS AN AUTHOR AND A CRITIC

2020 ◽  
pp. 55-67
Author(s):  
M.B. Rarenko ◽  
Keyword(s):  
Henry James ◽  
William James ◽  
Absolute Truth ◽  
The Core ◽  
Works Of Art ◽  
Starting Point ◽  
The World ◽  
New Type ◽  
Points Of View ◽  
The Absolute

The article considers the story by Henry James (1843 – 1916) «The Turn of the Screw» (1898 – first edition, 1908 – second edition) in connection with the emergence of a new type of narrator in the writer's late prose. The worldview and creative method of H. James are formed under the influence of the philosophy of pragmatism, which became widespread at the turn of the XIX-XX centuries thanks to the works of the writer's elder brother, the philosopher William James (1842 – 1910). The core of pragmatism is the pluralistic concept of William James based on the assumption that knowledge can be realized from very limited, incomplete, and inadequate «points of view» and this leads to the statement that the absolute truth is essentially unknowable. The epistemological statements of William James's theory is that the content of knowledge is entirely determined by the installation of consciousness, and the content of the truth in this case depends on the goals and experience of the human, i.e. the central starting point is the consciousness of the person. Henry James not only creates works of art, but also sets out in detail the principles of his work both on the pages of fiction works of small and large prose, putting them in the mouths of their characters – representatives of the world of art, and in the prefaces to his works of fiction, as well as in critical works.

scholarly journals Corporeal Musical Structure: A Gestural-Kinesthetic Approach to Toru Takemitsu’s Rain Tree Sketch II

2021 ◽  
Vol 27 (4) ◽  
Author(s):  
Jocelyn Ho
Keyword(s):  
The Body ◽  
Musical Experience ◽  
Musical Structure ◽  
Trace Forms ◽  
Starting Point

The music of Tōru Takemitsu’s Rain Tree Sketch II (1994) entails a procession of discrete gestures that are delineated by moments of repose. The performer’s grasp of the piece lies in its physicality of movement: each gesture and in-between stillness are both heard and felt as an aggregate of velocities, directions, and intentions of the body. Drawing upon Carrie Noland’s concept of “vitality affects,” I take the performative gesture, encompassing both visually accessible movement and inwardly felt kinesthesia, as a starting point for the analysis of Rain Tree Sketch II. Concepts of effort and shape taken from Rudolf Laban’s dance theory provide a framework for creating a new methodology of enhanced trace-forms to analyze gesture and kinesthesia. The analysis of gestures reveals the coexistence of opposite effort qualities and shapes in an expanded corporeal space, resonating with Takemitsu’s ideal of reconciling contradictory sounds, as noted in his collection of essays Confronting Silence (1995). Husserl’s notions of retention and protention, viewed through the lens of embodiment, and Laban’s concepts of effort states and effort recovery are brought to bear on the still moments, showing the piece to have a throbbing, embodied rhythmic structural arc. This new methodology centering on gestural-kinesthetic details provides the tools to articulate structural sensations that are often overlooked but lie at the center of musical experience.

Phenomenological and Structural Aspects of the Mechanical Response of Arteries

2000 ◽  
Author(s):  
Ray W. Ogden ◽  
Christian A. J. Schulze-Bauer
Keyword(s):  
Residual Stresses ◽  
Mechanical Response ◽  
Physiological State ◽  
Circumferential Stress ◽  
Morphological Structure ◽  
Cylindrical Tube ◽  
Single Layer ◽  
Theory Of Elasticity ◽  
Starting Point ◽  
Circular Cylindrical Tube

Abstract In this paper we present some new data from extension-inflation tests on a human iliac artery and then, on the basis of the nonlinear theory of elasticity, we examine a possible model to represent this data. The model considers the artery initially as a thick-walled circular cylindrical tube which may consist of two or more concentric layers. In order to take some account of the architecture (morphological structure), each layer of the material is regarded as consisting of two families of mechanically equivalent helical fibers symmetrically disposed with respect to the cylinder axis. The resulting material properties are then orthotropic in each layer. General formulas for the pressure and the axial load in the symmetric inflation of an extended tube are obtained. The starting point is the unloaded circular cylindrical configuration, but (in general unknown) residual stresses are included in the formulation. The model is illustrated by specializing firstly to the case of a single layer so that the consequences of the hypothesis of uniform circumferential stress in the physiological state can be examined theoretically. This enables the required residual stresses to be calculated explicitly. Secondly, the equations are specialized for the membrane approximation in order to show how certain important characteristics of the experimental data can be replicated using a relatively simple anisotropic membrane model.

The Bhagavad Gita

2021 ◽  
pp. 31-55
Author(s):  
Christopher W. Gowans
Keyword(s):  
Self Control ◽  
Affective States ◽  
True Self ◽  
Bhagavad Gita ◽  
Philosophical Reflection ◽  
Starting Point ◽  
The Reformation ◽  
Action Knowledge ◽  
And Performance ◽  
Bhagavad Gītā

The chapter defends an interpretation of the Bhagavad Gita as a self-cultivation philosophy. First, it depicts our existential starting point as a state of anxiety, fear, confusion, and worry. Second, it describes the ideal state of being as a life of wisdom, union with the divine, self-control, peace, renunciation of desire, freedom from attachments and disruptive emotions, and performance of our duties—and ultimately liberation from the cycle of rebirth. Third, its transformation program includes spiritual exercises that emphasize philosophical reflection, meditative understanding, the purification of our affective states, and the reformation of our habits, all under the guidance of Krishna (namely, action, knowledge, and devotion yoga). Finally, this analysis is based on a complex conception of human nature according to which, though our true self appears to be prakṛti (matter), it is in fact puruṣa (spirit), and it is connected to other persons and the divine, especially Krishna.

Art works, ontology of

2018 ◽  
Author(s):  
Gregory Currie
Keyword(s):  
Standard View ◽  
Nelson Goodman ◽  
Works Of Art ◽  
Starting Point ◽  
Art Works ◽  
Musical Scores ◽  
Musical Works ◽  
History Of ◽  
Physical Objects ◽  
Ontology Of Art

In trying to decide what kinds of thing art works are, the most natural starting point is the hypothesis that they are physical objects. This is plausible only for certain works, such as paintings and sculptures; in such cases we say that the work is a certain marked canvas or piece of stone. Even for these apparently favourable cases, though, there is a metaphysical objection to this proposal: that works and the physical objects identified with them do not possess the same properties and so cannot be identical. There is also an aesthetic objection: that the plausibility of the thesis for painting and sculpture rests on the false view that the authentic object made by the artist possesses aesthetically relevant features which no copy could possibly exemplify. Once it is acknowledged that paintings and sculptures are, in principle, reproducible in the way that novels and musical scores are, the motivation for thinking of the authentic canvas or stone as the work itself collapses. For literary and musical works, the standard view is that they are structures: structures of word-types in the literary case and of sound-types in the musical case. This structuralist view is opposed by contextualism, which asserts that the identity conditions for works must take into account historical features involving their origin and modes of production. Contextualists claim that works with the same structure might have different historical features and ought, therefore, to count as distinct works. Nelson Goodman (1981) has proposed that we divide works into autographic and allographic kinds; for autographic works, such as paintings, genuineness is determined partly by history of production: for allographic works, such as novels, it is determined in some other way. Our examination of the hypothesis that certain works are physical objects and our discussion of the structuralist/contextualist controversy will indicate grounds for thinking that Goodman’s distinction does not provide an acceptable categorization of works. A wholly successful ontology of art works would tell us what things are art works and what things are not; failing that, it would give us identity conditions for them, enabling us to say under what conditions this work and that are the same work. Since the complexity of the issues to be discussed quickly ramifies, it will be appropriate after a certain point to consider only the question of identity conditions. For simplicity, this entry concentrates on works of art that exemplify written literature, scored music and the plastic and pictorial arts.

scholarly journals Monteverdi, the 1610 Vespers and the Beginnings of the Modern Musical Work

2018 ◽  
Vol 143 (1) ◽  
pp. 21-50
Author(s):  
John Butt
Keyword(s):  
Musical Work ◽  
Original Performance ◽  
Starting Point ◽  
Actual Service ◽  
Listening Experience

ABSTRACTThe elevated status of Monteverdi's 1610 Vespers over the last century provides the starting point for an enquiry into which factors render it so durable. In going against the grain of recent attempts to discern the possible liturgical context for its original performance, this study claims that the collection as a whole (components of which undoubtedly had liturgical origins) can only be exemplary. Moreover, Monteverdi, in his intense engagement with the impersonation of liturgical chanting, has effectively rendered it the analogue of an actual service. Several features suggest that he is capturing something of the listening experience of a liturgy, complete with its distortions and memories. As a collection that is ‘about’ Vespers and which doubles the experience one might be having, this has something in common with the ‘musical work’ as defined by later classical practice, and its very religiosity resonates with the secularized ideology of musical autonomy.

Travel agency of musical meanings? Discussion on music and context in Keith Swanwick's Interculturalism

2001 ◽  
Vol 18 (3) ◽  
pp. 261-274 ◽  
Author(s):  
Pentii Määttänen ◽  
Heidi Westerlund
Keyword(s):  
Cultural Exchange ◽  
Travel Agency ◽  
Musical Work ◽  
Cultural Contexts ◽  
Starting Point ◽  
Culturally Different ◽  
Musical Works

Interpretation of musical works depends on meanings, which, on a pragmatist view, are necessarily tied with cultural habits and practices. This entails that a piece of music is always interpreted differently by people raised in different cultural contexts. A musical work is always a result of this process of interpretation. Strictly speaking, works of music are therefore different works in culturally different contexts even if they were presentations of the same notes. The following discussion of the conditions of cultural exchange in music illuminates some pragmatist viewpoints on the topic by using Keith Swanwick's ideas as a point of comparison. The discussion shows that a contextual starting point leads towards a more ‘child-centred’ education.

scholarly journals Introduction: Towards an Ethics of Gesture

2017 ◽  
Vol 3 (1) ◽  
pp. 4 ◽  
Author(s):  
Lucia Ruprecht
Keyword(s):  
Special Section ◽  
Human Beings ◽  
Giorgio Agamben ◽  
Time And Space ◽  
Philosophical Reflection ◽  
Race And Class ◽  
Starting Point ◽  
Forward Looking

The introduction to this special section of Performance Philosophy takes Giorgio Agamben�s remarks about the mediality and potentiality of gesture as a starting point to rethink gesture�s nexus with ethics. Shifting the emphasis from philosophical reflection to corporeal practice, it defines gestural ethics as an acting-otherwise which comes into being in the particularities of singular gestural practice, its forms, kinetic qualities, temporal displacements and calls for response. Gestural acting-otherwise is illustrated in a number of ways: We might talk of a gestural ethics when gesturality becomes an object for dedicated analytical exploration and reflection on sites where it is not taken for granted, but exhibited, on stage or on screen, in its mediality, in the ways it quotes, signifies and departs from signification, but also in the ways in which it follows a forward-looking agenda driven by adaptability and inventiveness. It interrupts or modifies operative continua that might be geared towards violence; it appears in situations that are suspended between the possibility of malfunction and the potential of room for play; and it emerges in the ways in which gestures act on their own implication in the signifying structures of gender, sexuality, race, and class, on how these structures play out relationally across time and space, and between historically and locally situated human beings.

The Lure of Boccaccio’s Medievalism in D. G. Rossetti, William Morris, and Algernon Swinburne

2020 ◽  
pp. 248-270
Author(s):  
Eleonora Sasso
Keyword(s):  
William Morris ◽  
Theoretical Frameworks ◽  
Conceptual Metaphors ◽  
Erotic Love ◽  
The Sublime ◽  
Works Of Art ◽  
Starting Point ◽  
Earthly Paradise

This chapter takes as its starting point Erich Auerbach’s notion of creatural medievalism based on materiality and carnality, i.e. ‘the mixture of the sublime with the low’ (284), as well as Bolter and Grusin’s logic of remediation and George Lakoff’s theory of conceptual metaphors, and uses these theoretical frameworks to advance a new reading of D. G. Rossetti’s double works of art (‘Bocca baciata’, 1859, ‘Fiammetta’, 1868, ‘A Vision of Fiammetta’, 1878), William Morris’s The Earthly Paradise (1868), and Algernon Swinburne’s poems (‘The Two Dreams’, 1858, and ‘The Complaint of Lisa’, 1870), one which sees them as excellent models to investigate their indebtedness to Boccaccio’s The Amorous Vision (1342), Decameron (1349) and Rime (1350–69). In their carnal adaptations of Italian medievalism, Rossetti, Morris, and Swinburne seem to exalt Boccaccio’s vision of erotic love as embodied by a Neapolitan lady, the princess Maria, whom Boccaccio was to immortalize under the name of Fiammetta.

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