Filozofia muzyki. Doświadczenie, poznanie, znaczenie
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Date
2022
Journal Title
Journal ISSN
Volume Title
Publisher
Wydawnictwo UNUM
Abstract
To, czym jest fenomenologia muzyki oraz w jaki sposób rozpoznajemy fenomenologiczną dziedzinę studiów nad muzyką, stanowi pytanie leżące u podstaw prezentowanego tekstu. Odpowiedź na nie, zakłada autor, leży w eksplorowaniu różnych sposobów opisu, analizy oraz rozważania muzyki, charakteryzujących się ciągłością, oparte na doświadczaniu oraz osobistym oglądzie. Elementy te, jak sugeruje autor, mówią nam najwięcej na temat fenomenologicznych sposobów badania muzyki. Autor podąża badawczymi ścieżkami wyznaczonymi w pismach przez autorów takich jak Roman Ingarden, Maurice Merleau-Ponty, Jean-François Lyotard, Arnold Berleant, rozważając te różne, ale równie inspirujące sposoby rozumienia muzyki.
What is the phenomenology of music and how one distinguishes it from all other domains of studying music is the silent question that drives this text. The author assumes that the answer lies in pondering different ways of describing and analyzing music that is circular and continuous, based on experience and close, personal examination. Those elements, as the author suggests, are the most telling for recognizing the phenomenological studies on music. The author explores pathways to the experience of music as well as pathways into an understanding of music, presenting certain examples of meandering ways of philosophying on music. Roman Ingarden, Maurice Merleau-Ponty, Jean-Francois, Arnold Berleant’s writings on music are mentioned to provide examples of very different and yet quite possibly deeply experiential ways of providing an understanding of music.
What is the phenomenology of music and how one distinguishes it from all other domains of studying music is the silent question that drives this text. The author assumes that the answer lies in pondering different ways of describing and analyzing music that is circular and continuous, based on experience and close, personal examination. Those elements, as the author suggests, are the most telling for recognizing the phenomenological studies on music. The author explores pathways to the experience of music as well as pathways into an understanding of music, presenting certain examples of meandering ways of philosophying on music. Roman Ingarden, Maurice Merleau-Ponty, Jean-Francois, Arnold Berleant’s writings on music are mentioned to provide examples of very different and yet quite possibly deeply experiential ways of providing an understanding of music.
Description
Keywords
doświadczenie muzyki, droga, fenomenologia muzyki, rozumienie, Roman Ingarden, Maurice Merleau-Ponty, Arnold Berleant, experience of music, phenomenology of music, the way, understanding of music
Citation
Filozofia muzyki. Doświadczenie, poznanie, znaczenie, red. M. Gamrat, M. A. Szyszkowska, Kraków 2022
ISBN
978-83-7643-224-3