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https://doi.org/10.21464/fi36204

Hanslick’s Understanding of Music

Tomislav Škrbić orcid id orcid.org/0000-0003-2572-8869 ; Vinogradska 50, HR–44000 Sisak


Puni tekst: hrvatski pdf 528 Kb

str. 237-253

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Puni tekst: engleski pdf 528 Kb

str. 237-253

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Sažetak

Even though Hanslick’s aesthetics of music is mostly subsumed under “formalism”, it should be said that Hanslick’s immanentistic approach to music represents some kind of detachment from so-­called aesthetic formalism. Music, according to Hanslick, can neither provoke nor portray emotion, but can only express the dynamic aspect (motion) of emotion. For Hanslick, the “musical-spiritual content”, as that which is immanent in the being of music, is in fact a concrete unity of melodic, harmonic and rhythmic forms (the musically beautiful). The development of musical content unfolds simultaneously with the development of the musical forms of a piece. However, Hanslick’s linking the musically beautiful with that which is formal “opens” the door to the emergence of “modern” music, in which the final separation between dissonance and consonance occurs. That which ultimately connects “classical” and “modern” music is the ontological aspect of the art of music, which in the case of “classical” music relies on the aesthetic power of tonal expression, while in “modern” music it is primarily directed at rationality. Furthermore, in the “modern” art of music, a piece of music is a peculiar “existential modus” of the rationality of the musical, while in the “classical” art of music, it is but one of the modalities of existence of the being of music.

Ključne riječi

Eduard Hanslick; aesthetics of music; the musically beautiful; formalism; tonality; atonality

Hrčak ID:

173353

URI

https://hrcak.srce.hr/173353

Datum izdavanja:

27.9.2016.

Podaci na drugim jezicima: hrvatski

Posjeta: 2.716 *