The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | Veritas (Porto Alegre. Online) |
| Idioma: | inglés |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/33169 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/veritas/article/view/33169 |
| Access Level: | acceso abierto |
| Palabra clave: | Hegel Historicity Music Schoenberg Twelve-tone music. Philosophy & Interdisciplinarity Historicidade Música Dodecafonismo. |
| Sumario: | In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation and Aufhebung of tonal system in music. Furthermore, I will take Schoenberg’s twelve-tone music as an instance and wonder about the role of music and its history in the sociocultural formation (or, in Hegelian words, in the absolute Geist). I divide the exposition into four parts, namely: (1) the position of art before the absolute Geist; (2) a general exposition of art in the Lectures on the Philosophy of Art, placing music as a singular form of art; (3) an analysis of the characteristics of music in Hegel and (4) the comparison with Schoenberg’s twelve-tone music. I conclude that music, as an artistic form, brings the form of an internal feeling of a social subjectivity – a way to feel and understand sounds that transforms itself through history; in turn, both music and the form of an internal feeling of social subjectivity, have a historicity that can be understood as developed dialectically. Along these lines, the beginning of the Twentieth Century in music reveals, through Schoenberg and other composers, new intuitive configurations of this social subjectivity. |
|---|