Filozofska istraživanja, Vol. 45 No. 3, 2025.
Izvorni znanstveni članak
https://doi.org/10.21464/fi45301
The Specifically Musical, Form, and Timbre in Eduard Hanslick’s Aesthetics of Music
Dušan Milenković
orcid.org/0000-0003-1860-5502
; Univerzitet u Nišu, Filozofski fakultet, Ćirila i Metodija 2, RS–18000 Niš
Sažetak
In this paper, I examine Hanslick’s aesthetics of music through the lens of contemporary interpretations which emphasize that it is not strictly formalist and that the importance of form in it is overemphasized. In this light, I analyze Hanslick’s concepts of the specifically musical, form, and timbre. By examining their role, I show that the meaning of form, which includes melodic, harmonic, and rhythmic relations between tones, as well as “musical ideas”, is directly related to Hanslick’s views on specifically musical beauty, which, in addition to the form, also encompasses the structure of the composition, as well as the timbre. I show that his notion of form cannot be easily reconciled with the formalist concept of formal properties. Additionally, I examine his views on the relationship between form and structure, and I emphasize his suggestions that the aesthetic contributions of timbre are smaller compared to form.
Ključne riječi
pecifically musical; form; timbre; Eduard Hanslick; On the Musically Beautiful; formalism
Hrčak ID:
340409
URI
Datum izdavanja:
14.12.2025.
Posjeta: 255 *