Filozofska istraživanja, Vol. 36 No. 2, 2016.
Original scientific paper
https://doi.org/10.21464/fi36204
Hanslick’s Understanding of Music
Tomislav Škrbić
orcid.org/0000-0003-2572-8869
; Vinogradska 50, HR–44000 Sisak
Abstract
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.
Keywords
Eduard Hanslick; aesthetics of music; the musically beautiful; formalism; tonality; atonality
Hrčak ID:
173353
URI
Publication date:
27.9.2016.
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