WORD AND MUSIC ON NIETZSCHE’S LATE AESTHETICS
Taking as a fundamental axis The case Wagner (1888), this article will develop from the relationship between word and music on musical aesthetics late Nietzsche. The use of the Opera Carmen by George Bizet, as possibility of antithesis to the Total work of art program, the composer Richard Wagner, a...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2015 |
| País: | Brasil |
| Recursos: | Universidade Federal de Goiás (UFG) |
| Repositorio: | Revista philósophos |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistas.ufg.br:article/35152 |
| Acesso em linha: | https://revistas.ufg.br/philosophos/article/view/35152 |
| Access Level: | acceso abierto |
| Palavra-chave: | Friedrich Nietzsche word music. palavra música |
| Resumo: | Taking as a fundamental axis The case Wagner (1888), this article will develop from the relationship between word and music on musical aesthetics late Nietzsche. The use of the Opera Carmen by George Bizet, as possibility of antithesis to the Total work of art program, the composer Richard Wagner, allows one to reflect on the aesthetics-Nietzschean musical of a privileged point of view. Why Nietzsche would have served as a work which he himself considered minor when compared to the Wagnerian musical drama? The answer to that question requires that you understand the deep value is not always clear from the word in musical compositions taken over by Nietzsche at various times of his work. After all, his musical aesthetics favored the word significant or considered mere apparatus of absolute music? |
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