112 found
Sort by:
See also:
Profile: Andreas Dorschel (University of the Arts Graz (Austria))
  1. Andreas Dorschel (2015). Ästhetik des Fado. Merkur 69 (2):79-86.
    Fado, the urban folk of Lisbon and Coimbra, is an art of nuances. These nuances music takes from poetry; as ‘sung poetry’ (‘poema cantado’ in Portuguese) fados are not to be equated with ‘songs’ that turn the word into a vehicle – a dominant procedure in, e.g., rock music. Again, ‘voice’ in fado does not so much manifest individual expression; rather it is, as it were, ‘on loan’ from tradition. Keeping some distance from dance, too, fado at the beginning of (...)
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  2. Andreas Dorschel (2014). Icons without turn: Über Bilder und Worte. In Wilhelm Vossenkuhl (ed.), Quo vadis Design? 4 Thesen. 17-37.
    Images, or icons, have been made the subject of a ‘turn’. But no new epoch under its sign is looming. The image is just one medium among others. The best we can do is to face what it may and what it may not achieve. Its main competitor is the word – though there is a field of transition between both. Words and numbers surpass the image when one needs to refer to something that cannot be seen – this holds (...)
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  3. Andreas Dorschel (2013). Aesthetics of Conducting: Expression and Gesture. In Jean Paul Olive & Susanne Kogler (eds.), Expression et geste musical. L'Harmattan. 65-73.
    Expression in orchestral music is a matter of conductors rather than orchestras. Why should that be so? The straightforward answer seems to be that expression is bound to the individual self. But, then, does it have to be? Collective expression of, e.g., anger, rage or protest is not at all unusual in the public domain of politics. Our intuition of conductors’ expressive primacy could be salvaged if we were to conceive of orchestras as their instruments. But that will not do. (...)
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  4. Andreas Dorschel (2013). Denktagebücher: Zur Poetik des philosophischen Journals. Philosophische Rundschau 60 (4):264-298.
    In philosophers’ diaries the individuality of men and women, their daily pain and pleasure, uniquely meets, and sometimes clashes, with the universal, or at least general, claims bound up with their metier. Following the genre’s history from the later 18th century to the present, Andreas Dorschel distinguishes (by way of ideal types) between (a) experimental diaries, (b) methodical diaries, (c) representative diaries, and (d) intimate diaries.
    Translate to English
    | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  5. Andreas Dorschel (2013). Ein verschollen geglaubter Brief der Korinther an Paulus. Merkur 67 (12):1125-1134.
    In the December 2013 issue of the periodical ‚Merkur‘, philosopher Andreas Dorschel presents a literary experiment. In the spirit of 18th century Enlightenment, he feigns an apocryphal letter including philological apparatus; it is – mind the boldness – a response letter by the Corinthians to St Paul’s first epistle. The ancient port city, multicultural, of syncretist religiousness and libertine in erotics, rejects the disciplining by the apostle. (Summary by Gustav Seibt, ‚Die Häresie der Abgrenzungen. Andreas Dorschel entwirft ein korinthisches Christentum‘, (...)
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  6. Andreas Dorschel, Gerhard Eckel & Deniz Peters (eds.) (2013). Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity, 2nd. Ed. Routledge.
    In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is (...)
     
    My bibliography  
     
    Export citation  
  7. Andreas Dorschel (2012). Der Getäuschte im Garten. La Nouvelle Héloïse: Rousseaus Aporetik der Liebe. Zeitschrift Für Ideengeschichte 6 (2).
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  8. Andreas Dorschel (2012). Der Welt abhanden kommen. Über musikalischen Eskapismus. Merkur 66 (2012):135-142.
    Escape from worldly dealings can be sought on a number of routes – music may open one of them. For its matter, sound, is forever fleeting, and in its realm, before and beyond language, no duties and obligations arise. Yet these features are not, as they seem, rooted in the nature of music; rather, they were shaped thus in the history that art underwent in Europe during the 19th century.
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  9. Andreas Dorschel (2012). Einführung zu den Schriften [Richard Wagners]. In Laurenz Lütteken (ed.), Wagner Handbuch. Bärenreiter. 110-117.
    In his writings, Richard Wagner imagines art as something natural. This paradox was only befitting for Wagner’s contradictory historical stance: that of an eminently modern artist loathing the modern world. For him, nature served as a yardstick apt to find the modern world deficient on all counts. But how can something ahistorical, nature, be used to judge a historical phenomenon, modernity? To arrive at the verdict Wagner was keen on, he had to fill his concept of nature with historical content (...)
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  10. Andreas Dorschel (2012). Furcht Und Angst. In Dietmar Goltschnigg (ed.), Angst. Lähmender Stillstand und Motor des Fortschritts. Stauffenburg. 49-54.
    Is fear a ‘deficient mode’ of anxiety? This claim made by Martin Heidegger in ‘Being and Time’ (1927) depends on an analysis of intentionality. Emotions take objects: to love, to hate, to fear is to love, to hate, to fear someone or something. Yet anxiety, Heidegger maintains (‘Being and Time’ § 40), is about “nothing” (“nichts”) rather than “something” (“etwas”). Heidegger then turns lack of knowledge or understanding of what one’s anxiety is about into a revelation of “Nothing” (“Die Angst (...)
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  11. Andreas Dorschel (2012). Offener Brief an Magister Alexander Gottlieb Baumgarten. In Philip Alperson & Andreas Dorschel (eds.), Vollkommenes hält sich fern. Ästhetische Näherungen. Universal Edition. 9-15.
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  12. Andreas Dorschel (2012). The Idea of Order: Enlightened Revisions. Archiv für Rechts-Und Sozialphilosophie 98 (2):185-196.
  13. Andreas Dorschel & Philip Alperson (2012). Vollkommenes hält sich fern. Ästhetische Näherungen. Universal Edition.
    In ‘Vollkommenes hält sich fern’ (‘Perfection keeps itself aloof’) – the book title is drawn from a verse of American poet Kimberly Johnson (*1971) –, Philip Alperson and Andreas Dorschel discuss issues in the philosophy of music and general aesthetics related to the body, to practices and genres, values and education.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  14. Andreas Dorschel & Federico Celestini (2012). Objective Music: Traditions of Soundmaking Without Human Expression. In Andreas Dorschel, Deniz Peters & Gerhard Eckel (eds.), Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity. Routledge. 130-139.
     
    My bibliography  
     
    Export citation  
  15. Andreas Dorschel, Deniz Peters & Gerhard Eckel (eds.) (2012). Bodily Expression in Electronic Music: Perspectives on Reclaiming Performativity. Routledge.
    In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what is (...)
     
    My bibliography  
     
    Export citation  
  16. Andreas Dorschel (2011). A Promise of Happiness. Recent Philosophical Studies of Beauty. Philosophische Rundschau 58 (3):226 - 247.
     
    My bibliography  
     
    Export citation  
  17. Andreas Dorschel (2011). Ein Versprechen von Glück. Neuere philosophische Studien über das Schöne. Philosophische Rundschau 58 (3):226 - 247.
    Translate to English
    | Direct download (3 more)  
     
    My bibliography  
     
    Export citation  
  18. Andreas Dorschel (2011). Form. In Armin G. Wildfeuer & Petra Kolmer (eds.), Neues Handbuch philosophischer Grundbegriffe, vol. I. Alber. 771-786.
    ‘Form’ was a fundamental category of European philosophy from its beginnings in ancient Greece until the 19th century. As Aristotle’s examples show, it originated in craft. Making a pot out of clay is a paradigm case of giving form to matter. During its long career in philosophy, this concept of humble origin expanded into a category for everything: In the 18th century, vide Kant, cognition could have a form (and even had to have it), or ethical decisions, or the experience (...)
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  19. Andreas Dorschel (2011). Individualism for the Masses: Aesthetic Paradox in Mahler’s Symphonic Thought. In Elisabeth Kappel (ed.), The Total Work of Art: Mahler’s Eighth Symphony in Context. Universal Edition. 46-60.
    In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic work (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
  20. Andreas Dorschel (2011). Music and Pain. In Jane Fulcher (ed.), The Oxford Handbook of the New Cultural History of Music. Oxford University Press. 68-79.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
  21. Andreas Dorschel (2011). Ort und Raum. Saeculum. Jahrbuch Für Universalgeschichte 61 (1):1-15.
  22. Andreas Dorschel (2011). Prosa der Aufmerksamkeit. In Jürgen Hosemann (ed.), Die Zeit, das Schweigen und die Toten. Fischer Taschenbuch Verlag. 258-261.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  23. Andreas Dorschel (2010). Über Ausdruck, insbesondere den musikalischen. In Andreas Dorschel & Elisabeth Kappel (eds.), Friedrich von Hausegger, Die Musik als Ausdruck. Universal Edition. 152-177.
    To call a piece of music sad or joyous need not imply reference to a subjective state. Speaking in this vein, we do not have to attribute sad or joyous feelings to the composer or to the performer. Nor do we predict that listeners will become sad or joyful when they will listen to a performance of that composition. Musical expression is not a mode of consciousness in those who produce it and it is not an effect of music either. (...)
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  24. Andreas Dorschel (2010). Der allgemeine Wille. Zu Rousseaus Contrat social (1762). Zeitschrift Für Didaktik der Philosophie Und Ethik 32 (1):31-33.
    In his 'Contrat social', § 2.1, Jean-Jacques Rousseau argues that the general will alone can steer the forces of the state towards the end for which it was instituted, i.e., the common good. The argument's logical structure is more intricate than it seems at first glance. And the intricacy appears to be deliberate. Rousseau's authorial strategy is designed to evoke the reader's voice in articulating the fundamentals of politics.
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  25. Andreas Dorschel (2010). Die Idee des Konservatoriums. In Laurenz Lütteken (ed.), Mendelssohns Welten. Bärenreiter. 89-108.
  26. Andreas Dorschel (2010). Der ‘Kunstregelbau’. Kontrapunktik in Max Webers Fragment Zur Musiksoziologie. In Ulrich Tadday (ed.), Philosophie des Kontrapunkts. edition text + kritik. 135-142.
    In his social theory, Max Weber (1864 – 1920) attempts to identify patterns that have distinguished Western rationality. Music, he argues, is one of the domains that exhibit such structures. As a specific instance, Weber cites counterpoint as developed in 15th century Europe and – so he claims – culminating in Bach’s music. “No other epoch and culture possesses it”, Weber asserts. Counterpoint’s rationality is meant to manifest itself in rules; yet Weber’s approach lacks an analysis of such rules. Remarkably, (...)
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  27. Andreas Dorschel (2010). Ideengeschichte. Vandenhoeck & Ruprecht.
    What are ideas? How have new ideas emerged? How have ideas been preserved or altered? Whoever ‘has got an idea’ may believe it fell from the skies. Yet in so far as they become intelligible, ideas must have grown out of some tradition, and in so far as they are significant, new ideas grow from them. In a nutshell: Ideas are always connected historically. How such connections are to be explored constitutes the subject matter of this book, focussing on method.
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  28. Andreas Dorschel (2010). Totengespräch zwischen Franz Joseph Haydn aus Rohrau und Anton Friedrich Wilhelm von Webern aus Wien in der musikalischen Unterwelt. In Andreas Dorschel & Federico Celestini (eds.), Arbeit am Kanon: Ästhetische Studien zur Musik von Haydn bis Webern. Universal Edition. 9-15.
    In the spirit of Fontenelle's "Dialogues des morts", Dorschel stages an imaginary conversation between 18th century composer Joseph Haydn and 20th century composer Anton von Webern. In the section of Hades reserved for composers, they confront their different musical poetics.
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  29. Andreas Dorschel & Federico Celestini (2010). Arbeit am Kanon: Ästhetische Studien zur Musik von Haydn bis Webern. Universal Edition.
    In 'Arbeit am Kanon', Italian musicologist Federico Celestini and German philosopher Andreas Dorschel discuss aesthetic issues in the work of composers Joseph Haydn, Franz Schubert, Johannes Brahms, Anton Bruckner, Hugo Wolf, Gustav Mahler, Anton Webern, and Franz Schreker.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  30. Andreas Dorschel & Elisabeth Kappel (eds.) (2010). Friedrich von Hausegger, Die Musik als Ausdruck. Universal Edition.
    In 1885, the Austrian music critic and scholar Friedrich von Hausegger published his book “Die Musik als Ausdruck” (“Music as Expression”) which may be understood as an answer to Eduard Hanslick’s “Vom Musikalisch-Schönen” (“On the Musically Beautiful”, 1854). Unlike Hanslick, Hausegger takes the body as central to any adequate account of music. Hence Charles Darwin’s theory of evolution, in particular his book “The Expression of Emotions in Man and Animals” (1872), becomes a central reference for Hausegger. His treatise is a (...)
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  31. Andreas Dorschel (ed.) (2009). Kunst und Wissen in der Moderne. Böhlau.
    The relationship between art and knowledge is subject to historical change. In the early 19th century, the view was still prevalent that art was about eternal values, especially beauty, whereas science was entirely involved in historical time: The former was seen as contemplative, the latter as searching. But ever since, most artists have given up that stance and hence the once imagined detachment from historical time. They search, and sometimes research, too. Does that mean that art and science have come (...)
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  32. Andreas Dorschel (2009). Metaphysisch malen: Philosophie und Bild bei Giorgio de Chirico. In , Kunst und Wissen in der Moderne. Böhlau. 123-132.
    ‘Metaphysical painting’ (‘pittura metafisica’) is a paradoxical term: extrasensory sensuousness, as it were. Painting is the representation of visible surfaces; metaphysics rejects surfaces, as deceptive, in favour of the deeper essence. But Giorgio de Chirico (1888–1978) who coined the term ‘pittura metafisica’ in 1919 was a follower of the anti-essentialist Nietzsche. ‘Metaphysics’, then, is not about discovering the essence of things but about shaping their appearances, their ‘physique’. This is an intriguing concept and the corollary to a subtle artistic oeuvre.
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  33. Andreas Dorschel (2009). Verwandlung: Mythologische Ansichten, Technologische Absichten. V&R Unipress.
    Die Alchimie setzte Menschen statt Gotter zu Herren der Verwandlung ein. Zuletzt sind auch Wissenschaft und Technologie auf sie gestossen. Was geschieht mit Verwandlung in diesem neuen, entzaubernden Zugriff?
    Translate to English
    | Direct download (2 more)  
     
    My bibliography  
     
    Export citation  
  34. Andreas Dorschel (2008). Historische Konjunktive: Zur Geschichtsschreibung des Möglichen. In Andreas Haug & Andreas Dorschel (eds.), Vom Preis des Fortschritts: Gewinn Und Verlust in der Musikgeschichte. Universal Edition. 33-52.
    Reference to past possibilities is not an additional luxury in writing history, after all facts have been established. For even facts become such only within a field of alternative options. What it means that one path was taken depends in part on answers to the question which other paths once open were not taken. Historical potential unrealized can be conceived of in a number of ways: as unfulfilled intentions, as unresolved problems, as suppressed endeavours, as waived alternatives within a context (...)
    Direct download  
     
    My bibliography  
     
    Export citation  
  35. Andreas Dorschel (2008). Historical Subjunctives : Eight Theses on Understanding Past Possibilities. In Andreas Haug & Andreas Dorschel (eds.), Vom Preis des Fortschritts: Gewinn Und Verlust in der Musikgeschichte. Universal Edition.
     
    My bibliography  
     
    Export citation  
  36. Andreas Dorschel (2008). Moral als Problem. Friedrich Nietzsche: Fröhliche Wissenschaft § 345. Zeitschrift Für Didaktik der Philosophie Und Ethik 30 (1):56-61.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  37. Andreas Dorschel (2008). Musik und Schmerz. Musiktheorie 23 (3):257-263.
    Ancient mythology related music to pain in a twofold way. Pain is the punishment inflicted for producing inferior music: the fate of Marsyas; music is sublimation of pain: the achievement of Orpheus and of Philomela. Both aspects have played defining roles in Western musical culture. Pain’s natural expression is the scream. To be present in music at all, pain needs to be transformed. So even where music expresses pain, at the same time it appeases that very pain. Unlike the scream, (...)
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  38. Andreas Dorschel (2008). ‘Philosopher is a rotten word’. Von Nietzsches zu Delius’ Zarathustra. In Ulrich Tadday (ed.), Frederick Delius. edition text + kritik. 99-116.
    Delius’ Messe des Lebens (1907) transforms Nietzsche’s Also sprach Zarathustra (1883-5) into a Mass, religious services for worshippers of ‚Life‘. An individual reader’s train of thought is thus replaced by a collective experience at grand scale. To achieve that, Delius abandons cognitive, in particular philosophical, as well as satirical and parodistic features of Nietzsche’s Zarathustra. Yet unlike the Christian Mass, Eine Messe des Lebens gathers its congregation less by reference to belief, but rather by virtue of a sequence of musically (...)
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  39. Andreas Haug & Andreas Dorschel (eds.) (2008). Vom Preis des Fortschritts: Gewinn und Verlust in der Musikgeschichte. Universal Edition.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  40. Andreas Dorschel (2007/08). Lakonik und Suada in der Prosa Thomas Bernhards. Thomas Bernhard Jahrbuch:215-233.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  41. Andreas Dorschel (2007). Arbeit am Kanon: Zu Hugo Wolfs Musikkritiken. Musicologica Austriaca 26:43-52.
    Cultivation of the musical canon and canonisation of truly original work can be identified as guiding principles of both Hugo Wolf’s artistic and his critical practice. The latter is shaped by classicist tropes; they may serve strategic functions as well, yet cannot be reduced to them. While he rejects the merely old-fashioned, Wolf also leads a striking attack on what he terms “modern music”. His endorsed aesthetics intertwine the old and the new.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  42. Andreas Dorschel (2007). Das anwesend Abwesende: Musik und Erinnerung. In , Resonanzen. Vom Erinnern in der Musik. Universal Edition. 12-29.
    Remembrance is constitutive of music. For music emerges not as an isolated physical stimulus. Rather, it is experienced, i.e., a present musical moment is tied to its temporal antecedents. It is tempting to conceive of remembrance as repetition and as thus opposed to oblivion. Yet to memory selectivity is crucial. What is not selected, falls into oblivion. Hence as we remember we have forgotten already. The present moment evokes remembrance, and exhibits what was then in the light of what is (...)
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  43. Andreas Dorschel (2007). Die Idee der Verwandlung. In , Verwandlungsmusik. Über komponierte Transfigurationen. Universal Edition. 11-51.
    Within the European history of ideas, at least three conceptions of metamorphosis can be distinguished. First, as celebrated in Ovid’s Metamorphoses, there is the vision of an open-ended flux of shapes in all directions, potentially with the ambiguous result of wavering identity. Secondly, at the centre of the synoptic gospels Jesus’s transfiguration is presented as a luminous elevation, rendering his true nature unambiguous. Thirdly, alchemy conceives of metamorphosis as contingent upon a meeting of polarities. The distinction is fit to disclose (...)
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  44. Andreas Dorschel (ed.) (2007). Resonanzen. Vom Erinnern in der Musik. Universal Edition.
    In "Resonanzen", scholars and artists explore aspects of memory and recollection in music. Composers Georg Friedrich Haas and Isabel Mundry set out how their art involves memory (as well as oblivion). Music historians Laurenz Lütteken, Nicole Schwindt and Klaus Aringer scrutinize the role of memory in early modern music; Anselm Gerhardt, Peter Franklin, László Vikárius and Harald Haslmayr follow up the theme for compositional practice of the 19th and 20th centuries. Aaron Williamon adds a psychological perspective on memory in musical (...)
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  45. Andreas Dorschel (ed.) (2007). Verwandlungsmusik. Über komponierte Transfigurationen. Universal Edition.
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  46. Andreas Dorschel (2006). Über Kanonisierung. Musiktheorie 21 (1):6-12.
  47. Andreas Dorschel (2006). ‘Best to Have the Opera House Bombarded’. An Unpublished Letter by Hugo Wolf. Studia Musicologica 47 (2):233-240.
    Direct download  
     
    My bibliography  
     
    Export citation  
  48. Andreas Dorschel (2006). Einwände gegen das Vergleichen. Ein Versuch, sie zu beantworten. Philosophisches Jahrbuch 113 (1):175-183.
    Translate to English
    | Direct download  
     
    My bibliography  
     
    Export citation  
  49. Andreas Dorschel (2006). Vom Beginnen. Bruckner und die Wechselfälle des Ursprungs im 19. Jahrhundert. In Hans-Joachim Hinrichsen & Laurenz Lütteken (eds.), Bruckner – Brahms: Urbanes Milieu als kompositorische Lebenswelt im Wien der Gründerzeit. Bärenreiter. 128-143.
    ‚Origin‘ must be counted among the 19th century’s obsessions. Following the lead of 18th century Enlightenment, subverting origins rather than venerating them became a theoretical preoccupation. Yet art – specifically the art of music – dealt with origins in a different way. That way eludes the obvious alternative of either awe or unmasking. It is specifically modern: The work of art attends to its own genesis. The different versions of the beginning of Bruckner’s Fourth Symphony disclose a subtle craft of (...)
    Translate to English
    |
     
    My bibliography  
     
    Export citation  
  50. Andreas Dorschel (2005). Über das Verstehen und Interpretieren von Kunstwerken. In Wolf-Jürgen Cramm, Wulf Kellerwessel, David Krause & Hans-Christoph Kupfer (eds.), Diskurs und Reflexion. Wolfgang Kuhlmann zum 65. Geburtstag. Königshausen & Neumann. 375-387.
1 — 50 / 112