scholarly journals The Concept of ‘Authenticity’ in Musical Interpretation: An Ontological Perspective

2020 ◽  
Vol 22 (1) ◽  
pp. 193-208
Author(s):  
Andreea Stoicescu
Keyword(s):  
Walter Benjamin ◽  
Being And Time ◽  
Musical Work ◽  
Crucial Point ◽  
Cultural Roots ◽  
Musical Interpretation ◽  
Way Of Thinking ◽  
Ontological Problem

AbstractIn this paper I attempt a brief analysis of the concept of ‘authenticity’ from musicological and philosophical perspectives. This term bears important metaphysical presuppositions. A good example is the complex meaning and the central role this term has in one of the most influential philosophy books in the 20th century: Martin Heidegger’s Being and Time. This term appears in a crucial point of the treatise: when man (Dasein) must turn his existence toward his intimate self in order to truthfully understand his own being. Notably, in this philosophical context, ‘authenticity’ refers to essential, hidden traits of one individual being in accordance with their way of thinking, feeling and overall behavior. When you are not authentic you submit yourself to impersonal existence. These connotations have common cultural roots with those within musicology, in the latter referring to contemporary debates concerning theoretical difficulties about the historical informed performance movement as held especially by the musicologist Richard Taruskin. In this case, ‘being in accordance’ would mean that certain characteristics considered essential to a musical work are satisfied by the interpretation of the work. The ontological problem concerns the manner in which we conceive the reference of the expression ‘musical work’ and the nature of musical experiences in general. The well-known aesthetician T.W. Adorno, following remarks by Walter Benjamin, criticized Heidegger’s treatment of the concept of ‘authenticity’ for the reason behind it is simply cultural presuppositions from that time, not metaphysical truths. I will argue that, philosophically, neither can fully sustain strong theses and instead propose ‘authenticity’ to mean ‘accordance’ between internal characteristics of a musical work and the interpreter’s personal, but at the same time informed, vision of the same work.

scholarly journals The notion of Befindlichkeit in Heidegger's phenomenological way.

Phainomenon ◽  
2012 ◽  
Vol 24 (1) ◽  
pp. 43-62
Author(s):  
Irene Borges-Duarte
Keyword(s):  
Comprehensive Analysis ◽  
Current Paper ◽  
Being And Time ◽  
Philosophical Framework ◽  
Way Of Thinking ◽  
Conceptual Evolution

Abstract The notion of Befindlichkeit in Heidegger’s phenomenological way. Heidegger’s phenomenology of Befindlichkeit and the different kinds of affection was initiated still before Being and Time, and developed in its essential features till the end of the 1930’s. The current paper argues that, since its very origins in a philosophical framework, back to the translation of the affectiones in Augustine, the notion of Befindlichkeit sets the beginning of a structural understanding of existence - displayed both at the ontological levei of Grundstimmungen (such as anguish, boredom or reservedness), and at the ontic level of different factual Stimmungen. Any comprehensive analysis of those affections counts on a tripie background with a Wovor, a Worum and the full-fledged exercise (Vollzug) of such and such affective understanding. In Being and Time this analysis is dedicated to fear, in its different nuances. But this phenomenon was already dealt with in Heidegger’s Lectures on Augustine (1921) and will reoccur in the Beiträge (1936-38). A reading of this conceptual evolution will here ground a defense of the phenomenological character of Heidegger’s way of thinking.

scholarly journals Messy Subjectivities: The Popular, Affective and Technical Consistencies of Early Nineteenth-Century Staffordshire Ware

2017 ◽  
Vol 23 (2) ◽  
pp. 35-50
Author(s):  
Nicole De Brabandere
Keyword(s):  
Nineteenth Century ◽  
Print Media ◽  
Private Property ◽  
Walter Benjamin ◽  
Early Nineteenth Century ◽  
Way Of Thinking ◽  
Private Individual

This article investigates how Staffordshire figurines and dinnerware, which were popular in early nineteenth-century England and its colonies, were complicit in forging emergent social, aesthetic and subjective consciousness. Staffordshire ware was influenced by diverse technical, economic and aesthetic factors, including the circulation of print media, private property, colonialism and Romanticism. At the same time, the wares both engendered Romantic versions of subjectivity that amplified the importance of the private individual, while generating emergent sites of contestation that exceeded them. The collection of Staffordshire figurines and dinnerware was a media and technical consistency where owners could inhabit the tensions of at times conflicting social, material, affective and performative affinities or antagonisms. This discussion draws from Walter Benjamin to develop a way of thinking with how the material and media specificity of Staffordshire ware could have co-composed heterogeneous knowledges, practices and subjectivities that undermined the Romantic individual. By examining the multifaceted qualities, affects and contexts of Staffordshire ware in detail I aim to develop new terms and practices with which to activate emergent versions of historicity, corporeality and world-making.

scholarly journals Zagadnienie ‘’zwrotu” w myśli Heideggera w kontekście dziejowości bycia

2019 ◽  
Vol 31 ◽  
pp. 84-93
Author(s):  
Paweł Murzicz ◽  
Keyword(s):  
Martin Heidegger ◽  
Point Of View ◽  
Being And Time ◽  
Human Being ◽  
Way Of Thinking

The article deals with the issue of turning (Kehre) in the thought of Martin Heidegger. I show that, in Being and time the question of being posed from the perspective of a distinguished being as Dasein has led to the objectification of being, thus rather reproducing instead of overcoming, the so far way of thinking that Heidegger named “metaphysical”. The turning in Heidegger’s thought consists in his effort to make being independent from human being, i.e. he tries to go beyond the transcendental and subjectivist point of view of Dasein by placing historicality of Dasein against the background of the very existence of being. It is not Dasein who designs being, but on the contrary, being designs understanding for Dasein. In this context, I show that the thinking of being postulated by Heidegger takes the form of thinking the very process of historical presencing of the historic types of interpretation of being.

scholarly journals Daseinsanalyse and the question of being in the early Heidegger. Destruction of Husserl‘s concept of consciousness as the absolute being in the sense of the absolute givenness

2017 ◽  
Vol 28 (3) ◽  
pp. 613-630
Author(s):  
Zeljko Radinkovic
Keyword(s):  
A Priori ◽  
Being And Time ◽  
Husserlian Phenomenology ◽  
The Absolute ◽  
Way Of Thinking ◽  
Essential Connection ◽  
Categorial Intuition ◽  
Radical Transformation ◽  
Phenomenological Principle

The text deals with a certain phase of the Heideggerian way of thinking, which had precedes the emergence of ?Being and Time? (1927). Heidegger?s reception, criticism, and transformation of some of the central concepts of Husserlian phenomenology (intentionality, a priori, categorial intuition) is the focus of the reflections. This article shows how this radical transformation of Husserlian phenomenology goes beyond the formal coincidence of the phenomenological principle ?to the things themselves? and points to the essential connection of the question of being and its phenomenological demetalization.

The Anglo-Saxon and NorseRune Poems: a comparative study

1990 ◽  
Vol 19 ◽  
pp. 23-39 ◽  
Author(s):  
Margaret Clunies Ross
Keyword(s):  
Comparative Study ◽  
Old English ◽  
Old Norse ◽  
Anglo Saxon ◽  
Early Medieval ◽  
Figures Of Speech ◽  
Cultural Roots ◽  
Way Of Thinking ◽  
Modes Of Thought ◽  
Considerable Period

It has been customary, since comparative scholarship in the field of Germanic literatures began, to explain perceived similarities between Old English and Old Norse poetry in terms of their derivation from common cultural roots and closely cognate languages. Similarities in the two poetic systems have been regarded as evidence of the conservation of ideas, figures of speech and poetic forms. Such similarities have then been used to reveal what the ‘original’ Germanic customs, ideas and literary expressions might have been before the various tribal groups dispersed to their historical medieval locations. This way of thinking assumes the persistence into early medieval times of archaic modes of thought and expression wherever cultural similarities are perceived. The Old English, Old Norwegian and IcelandicRune Poemshave usually been considered in this light. It is widely accepted that they reflect a shared cultural prototype. Moreover, their texts span a considerable period of time and yet show significant similarities. The Old EnglishRune Poemhas often been compared with its Scandinavian counterparts to reveal older forms of thought. Andreas Heusler offered a fairly typical assessment: ‘Die wenigen Anklänge an die nordischen Reihen … erklären sich unbedenklich aus einer alten Grundform der Wanderungszeit, als Angeln und Nordleute Nachbarn waren.’

scholarly journals INTERPRETATION OF CHORAL WORK AS A CREATIVE COMPONENT IN THE SYSTEM OF FACTORS OF PERFORMANCE SKILLS OF THE FUTURE TEACHER - MUSICIAN

2021 ◽  
pp. 10-15
Author(s):  
T. BAGRIY
Keyword(s):  
Creative Thinking ◽  
Theory And Practice ◽  
Music Teacher ◽  
Synthetic Activity ◽  
Musical Work ◽  
Performance Skills ◽  
The Future ◽  
Interpretive Skills ◽  
Musical Interpretation ◽  
Sketch Study

The article considers the issues of training a future music teacher, substantiates the importance of musical performance in his professional development. The views of scientists on the interpretation of the concepts of "performance", "performing skills" are analyzed. The components that determine the performance skills are highlighted. The meaning of the concepts "creation" and "creativity" is specified, their differences are defined. The phenomenon of interpretation as a type of creative activity is analyzed. Different approaches of music teachers and scholars to the interpretation of the term "interpretive skills", which are manifested in analytical work with musical text, technical and performing skills, artistic taste, the performer's own attitude to the figurative content of a musical work and reflect the level of his creative abilities. The key provisions of the theory and practice of interpretive activity of the future music teacher are indicated. The stages of creation of interpretation of a choral work are singled out and the range of tasks of each stage is defined. Analysis of a musical work is considered as one of the components of interpretation. The focus is on the formation of interpretation skills during individual lessons in the class of choral conducting. Methods and forms of work are proposed to activate the creative thinking of students to expand the musical horizons.  It was found that the state of creative search deepens the performer's knowledge of the musical image, forms the skills and abilities of full-fledged work on interpretation. Emphasis is placed on the peculiarities of reading the musical text, on the development of skills and abilities in the independent analysis of a musical work. The role of personal qualities of the student and own experience in creative process is defined. The peculiarities of the formation of interpretive abilities are characterized, in particular, the sketch study of works as one of the forms of analytical-synthetic activity of the student is singled out. It was found that musical interpretation is a key aspect of the performing activity of a future musician teacher.

scholarly journals Folto giardino: Hybrid Cross-Pollination of Score, Performance, Installation and Technology

2017 ◽  
Vol 27 ◽  
pp. 54-56
Author(s):  
Jonathan Impett
Keyword(s):  
Chamber Ensemble ◽  
Long Strings ◽  
Musical Work ◽  
Cross Pollination ◽  
Way Of Thinking ◽  
Hybrid Cross

This article presents a series of works for chamber ensemble (incorporating both scored and improvised material), electronics and an installation of long strings. The folto giardino of the title (derived from Mozart/Da Ponte) is a listening, performing environment in which a dramaturgy of relationships, of knowing, hearing, understanding or ignoring, can be played out. Such an approach is offered as a way of thinking about form and material when dealing with the hybrid resources typical of contemporary musical work.

scholarly journals Diálogos possíveis: uma leitura benjaminiana de A Corte do Norte, de Agustina Bessa-Luís

2011 ◽  
Vol 31 (46) ◽  
pp. 71
Author(s):  
Isadora Almeida Rodrigues
Keyword(s):  
Walter Benjamin ◽  
Modern Thought ◽  
Way Of Thinking ◽  
The Way

<p>A escrita de Agustina Bessa-Luís tem um forte tom filosófico. Por meio de sua ficção, a escritora, conhecida por seus aforismos e digressões, foi capaz de construir um pensamento próprio, que dialoga, implícita e explicitamente, com grandes nomes do pensamento moderno. Neste artigo, privilegiar-se-á a relação estabelecida pela autora com o pensamento de Walter Benjamin, mais especificamente suas ideias sobre o discurso histórico, no romance <em>A Corte do Norte</em>, visto que, nesta obra, o tom filosófico da escrita de Agustina fica ainda mais evidente, e a questão do discurso histórico é de suma importância para a construção da narração.</p> <p>Agustina Bessa-Luís’ writing has a strong philosophical take. The writer, famous for her aphorisms and digressions, was capable of building her own, and quite unique, way of thinking, which dialogs, implicitly and explicitly, with great names of Modern Thought. The aim of this essay is to privilege the relation established by Agustina with Walter Benjamin’s propositions on an alternative way of studying and discussing History in her novel <em>A Corte do Norte</em>, in which the author’s philosophical take on literature becomes even more evident, and the matter of History is crucial for the way narration is constructed</p>

scholarly journals Translation, Quotation, Iterability

2007 ◽  
Vol 10 (2) ◽  
pp. 167-189 ◽  
Author(s):  
Steven Rendall
Keyword(s):  
General Property ◽  
Walter Benjamin ◽  
Original Text ◽  
Critical Commentary ◽  
Word Translation ◽  
Way Of Thinking ◽  
Special Case

Abstract Translation, Quotation, Iterability (Walter Benjamin) — Translatability can be considered a special case of the general property of language Derrida called "iterability." By focusing on this property I seek both to clarify the place of translation in Benjamin's thought with respect to other modes of iteration, such as critical commentary and quotation, and to suggest a different way of thinking about translation. Like quotation, translation does not "use" the original text, but rather "mentions" or "names" it. Thus we can understand Benjamin's defense of word-for-word translation (Wörtlichkeit); if translation, like quotation, denotes the text of the original, then what it translates is not the sense of the original, but its word. Similarly, what translation connotes is translation itself considered as a possible act, or to put the point in Benjamin's and Rodolphe Gasché's terms, it communicates translatability. Iterability, translatability, and quotability are that part of the structure of a linguistic entity that differs from the entity itself, and points toward something beyond it. For Benjamin, that beyond is pure language.

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