de.mpg.escidoc.pubman.appbase.FacesBean

Post

 
 Vis
  H.C. Ørsteds musikæstetik og dens reception
Item is

Ophav

 Ophav:
Demidoff, Carl-Albert 1, Forfatter
Møller Sørensen, Søren , Vejleder
Tilknytninger:
1Institut for Kunst- og Kulturvidenskab, Det Humanistiske Fakultet, Københavns Universitet, København, Danmark, diskurs:7038              
skjul Ophav
Vis Ophav

Indhold

Ukontrollerede emneord: -
 Abstract: This thesis examines the academic reception in the 19th century of the musical aesthetics of Hans Christian Ørsted. This translates to ’the reception in the latter half of the century’, as I have not been able to find a single mention of Ørsted’s musical aesthetics that predates the 1852 publication of the German translation of his primary work in the area of natural philosophy, Aanden i Naturen (The Soul in Nature). A dialogue herein which contains the bulk of his musical thought was written in 1808. This means that there is a 44-year gap between its conception and (re-)publication in Germany, where a general discussion of musical aesthetics actually took place, and the reception is marked by this. An introductory chapter provides an overview of Ørsted’s musical aesthetics, followed by the main part, the reception. In the latter a certain theme is emphasised, namely the relationship between the aesthetics of Ørsted and that of ’the musical work’, as coined by Lydia Goehr. I provide an overview of this that also relies on accounts by Carl Dahlhaus and Søren Møller Sørensen. Ørsted’s scientific method includes the combination of empirical research and metaphysical speculation. His view of music is neo-platonic, i.e. music mirrors the inner workings of the world. Nature, he says, possesses an all-encompassing reason which is identical to that of the human mind, and due to this musical beauty is in effect a product of nature. Matter is seen from a dynamic, vitalist perspective, and equal significance is assigned to the sensuous aspect of music. Ørsted’s musical aesthetics have had some, but not many, references in the second half of the century. The reception based on these was mixed. There is a ratio of 2 to 1 of positive evaluations, but this is counterbalanced by the fact that an author is highly critical of Ørsted’s position, Eduard Hanslick, is the man whose side of the story in the discussion of musical aesthetics of the period was the one that lived to be told. The arguments with which commentators reject Ørsted tend to bear the mark of the work aesthetic. Of the commentators which applaud Ørsted’s position, some interpret his theory tendentiously in order to back up a central claim of theirs, while others are proponents of the incorporation of metaphysical speculation into science and aesthetics, and see Ørsted as a forerunner in that respect.
skjul Indhold
Vis Indhold

Filer

Navn:
Demidoff_Carl-Albert.pdf (Hovedtekst)
Bemærkninger:
-
Tilgængelighed:
Offentlig
Mime-type / størrelse:
application/pdf / 432KB
Copyright dato:
2012
Copyright information:
De fulde rettigheder til dette materiale tilhører forfatteren.
skjul Filer
Vis Filer

Basal

Bogmærk denne post: https://diskurs.kb.dk/item/diskurs:59186:2
 Type: Speciale
Alternativ titel: set i forhold til tidens filosofiske og æstetiske strømninger, herunder det værkæstetiske paradigme.
skjul Basal
Vis Basal

Links

Vis Links

Detaljer

Sprog: Danish - dan
 Datoer: 2012
 Sider: -
 Publiceringsinfo: København : Københavns Universitet
 Indholdsfortegnelse: -
 Note: -
 Type: Speciale
skjul Detaljer
Vis Detaljer

Kilde

Vis Kilde