Between the two World Wars, in Belgrade and Serbia, seven musical journals were published:?Musical Gazette?,?Music?,?Herald of the Musical Society Stankovic?,?Sound?,?Journal of The South Slav Choral Union?,?Slavic Music? and?Music Review?. The influence of marxism can be observed in?Musical Herald?,?Sound? and?Slavic Music?. A Marxist influence is obvious through indications of determinism. Namely, some writers observed elements of musical art and its history as consequences of sociopolitical and economic processes. Still, journals published articles of domestic and foreign authors who (...) interpreted the relation between music, society and economy in a much more moderate and subtle manner. Editors and associates of these journals also had proscriptive ambitions - they recommended and even determined regulations for composers about what kind of music to write according to social goals and needs. According to tendencies in Marxism, there was a follow up of musical work in the Soviet Union. Editors tried not to be one-sided. There were writings about the USSR by left orientated associates as much as emigrants from that country, and articles of Soviet authors were translated. Also, there were critical tones about musical development in the first country of socialism. Serbian musical periodicals recognized the enormous threat from fascism. Also, there were articles about influence of Nazi ideology and dictatorship on musical prospects in Germany. Since Germany annexed Sudetenland in 1938,?Musical Herald? expressed support to musicians and people of that friendly country by devoting the October and November 1938 issue to Czechoslovak music, along with an appropriate introduction by the editor, Stana Djuric-Klajn. (shrink)

Ovaj rad predstavlja rezultate empirijskog istraživanja provedenog radi ispitivanja mišljenja učitelja vokalno-instrumentalne i teorijske nastave pri hrvatskim i srpskim glazbenim školama o učenju na daljinu. Istraživanje je provedeno tijekom svibnja 2020., u vrijeme kad su sve glazbene škole zbog pandemije COVID-19 u potpunosti prešle na sustav učenja na daljinu. Rezultati pokazuju da su se učitelji, usprkos brojnim problemima, osobito lošim internetskim vezama i lošom kvalitetom zvuka dobivenim elektroničkim uređajima, uspješno nosili s realizacijom nastave glazbe na daljinu. Pronađene su statistički značajne (...) razlike u odgovorima nastavnika o učenju na daljinu s obzirom na vrstu nastave koju vode, pa su učitelji koji izvode instrumentalnu i vokalnu nastavu bili bolji u izvođenju učenja na daljinu u odnosu na one koji vode teorijsku nastavu. Usprkos vjerovanju nastavnika da je prijenos potpunog znanja nemoguć putem tehnologije, većina njih otvorena je za mogućnost smislene primjene IKT-a. Stoga se intenzivira pitanje profesionalnog usavršavanja i kontinuirane podrške učiteljima od strane nadležnih institucija Hrvatske i Srbije. This paper presents the results of empirical research conducted to examine the opinion of teachers of vocal, instrumental, and theoretical teaching at Croatian and Serbian music schools on distance learning. The survey was conducted during May 2020, at a time when all music schools have completely switched to a distance learning system due to the COVID-19 pandemic. The results showed that teachers, despite numerous problems, especially poor internet connections and poor sound quality obtained by electronic devices, have successfully coped with the realization of distance music teaching. Statistically significant differences were found in teachers’ responses about distance learning regarding the type of classes led by teachers, so teachers who lead instrumental and vocal classes are better at performing distance learning compared to those who lead theoretical classes. Despite the belief of teachers that the transfer of complete knowledge is impossible through technology, most of them are open to the possibility of meaningful application of ICT. Therefore, the issue of professional development and continuous support to teachers by the competent institutions of Croatia and Serbia is intensifying. (shrink)

This study tested to what extent young listeners metaphorically conceptualize basic musical relations. Ninety children aged 11 (30 attending a music school and 30 Serbian and 30 Romani children with no musical education) were played 5 stimuli with mutually opposed musical elements and asked to respond what the first and what the second one was like. Their answers were classified into metaphors according to the tenets of the conceptual metaphor theory. The results suggest an overwhelming dominance of metaphorical (...) replies, in which most mappings were based on image schemas within a predominantly visual–spatial modality. There were some differences in conceptualizations, however, with “high and low” tones also perceived as “big and small,” or “upward” musical motion seen as “forward.” This article analyzes the possibility of finding a common denominator for seemingly disparate replies, where the study of musical conceptualization might be instrumental in the cognitive semantic quest for metaphorical universals. (shrink)

The article pays homage to the leading authority of 20th century Hungarian music aesthetics, József Ujfalussy, by connecting his heritage to more recent research on the problems of musical time and notably to the study pursued by Raymond Monelle. Rather than a perennial invariant, Monelle interpreted musical time as a historically changing phenomenon constituting implicitly the basic levels of musical semantics, as they have developed throughout the Baroque, Classical and Romantic eras. The present study focuses on the last of (...) these paradigms, claiming that the Romantic experience of musical time has dominated both the production and the reception of music culture up to this day. The Romantic musical experience is based on a latent ‘framework contract’ between composition and audience, which drives the meanings attached to the experience of musical temporality. This latent agreement warrants a need for conventional compositional forms and simultaneously the insufficiency thereof. (shrink)

The subject of the study. The article analyzes a number of aspects of Brahms' intermezzo Op. 119 No. 3 in order to detect non-classical tendencies manifested in the structure of the musical fabric and the principles of shaping in this work. Research methodology. In the course of the study, the method of holistic analysis was used, which includes consideration of the features of harmony, textural originality, thematic processes and form-forming patterns in the Brahms intermezzo Op. 119 No. 3. Elements of (...) comparative analysis were also applied. The scientific novelty of the work consists in the fact that as a result of the research it was possible to identify a number of non-classical qualities of Brahms' music, namely: the homogeneity of the sound fabric, a weak degree of differentiation of relief and background in texture, the absence of common forms of sound and passive fragments in musical form. The conceptual kinship of Brahms' principles of working with musical material with the technique of interpenetration of object and space, which became widespread in painting at the beginning of the XX century, was also discovered. Conclusions, the results obtained allow us to conclude that Brahms' intermezzo Op. 119 No. 3 implements a number of non-classical principles of working with musical material that anticipate the discoveries of composers of the Novovensky school. The results of the research can be used in the process of further study of Brahms' creativity and various theoretical aspects of music at the turn of the XIX–XX centuries, as well as in performing and pedagogical practice. (shrink)

Michael Ferber considers Romanticism in its time of growth in Western Europe, examining various types of Romantic literature, music, painting, religion, and philosophy. He provides examples and quotations throughout to demonstrate the diverse nature of the movement.

Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?

The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take (...) the opportunity to relate Wittgenstein’s ideas on music to this current debate, thereby achieving a twofold goal: not only to reintroduce Wittgenstein’s ideas into the current debate, but also to use the current debate as a foil to better appreciating Wittgenstein’s otherness as a philosopher of music. I argue that Wittgenstein’s unique philosophical response to the Romantic framing of the discourse concerning musical profundity —specifically, its threefold emphasis on the specificity, aboutness, and artistically exalted status of music— occasioned a view, which was bound to be glossed over by a philosophical tradition, whose origins had made it inimical to Wittgenstein’s original philosophical insights. I conclude that, in a sense, Wittgenstein occasions a paradigm shift by his philosophical thrust to undo the gravitational forces which form the current debate: the very idea of aboutness pertaining to music, and the very idea that a clear line could ever be drawn between music and language. (shrink)

Known today mostly as an author of Romantic short stories and fairy tales for children, Prince Vladimir Odoyevskiy was a distinguished thinker of his time, philosopher and bibliophile. The scope of his interests includes also history of magic arts and alchemy, German Romanticism, Church music. An attempt to understand the peculiarity of eight specific modes used in chants of Russian Orthodox Church led him to his own musical theory based upon well-known writings by Zarlino, Leibniz, Euler, Prony. He (...) realized his theoretical ideas in an enharmonical piano with nineteen notes for every octave. His call for a different musical scale remained largely ignored in the nineteenth century, until the topic was raised anew by twentieth-century composers and musicians. (shrink)

Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), (...) and Alice Walker are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries. (shrink)

The paper is focused on ideological and political conflicts about popular music in Serbia, as a good example of wrong and confused searching for identity. Basic conflict that author is analyzing is about oriental elements and the question if they are legitimate parts of Serbian musical heritage or not. Author is making an analysis of three periods in twentieth century, in which absolutely the same arguments were used, and he's paying special attention to contemporary conflicts, trying to explain (...) why all of the theories are ideologically based. Author is insisting on role market played in development and modernization of popular music in Serbia. The article is ending with some recommendations for better understanding of cultural identity in Serbia, and for recognizing popular music as specific field of interest and research. Rad se bavi ideoloskim i politickim sukobima oko popularne muzike u Srbiji kao odlicnom primeru jednog konfuznog i lose postavljenog traganja za identitetom. Zapravo, sukob o kome je rec, sve vreme se vodi oko toga da li su takozvani orijentalni elementi legitiman deo srpske muzike ili ne. Autor se fokusira na tri perioda dvadesetog veka kada su se potezali potpuno isti argumenti, a narocitu paznju posvecuje aktuelnim sukobima i izlaze zasto su sve tri prisutne pozicije na sceni ideoloski zasnovane. Posebna paznja posvecena je uticaju trzista na razvoj i modernizaciju popularne muzike. Clanak se zavrsava preporukama za jedno bolje postavljeno razumevanje sopstvenog kulturnog identiteta. (shrink)

This paper argues that the sublime feeling can only announce itself as a paradoxical mixture of pain and pleasure in an experience of a lost or irrevocable past. Presenting the typical evanescence and inevitable deferral of the past in musical terms, this paper rewrites the sublime feeling as a musical feeling: a suspended feeling wavering in-between apparently opposite intensities of tension and respite. This suspended feeling is analyzed through a juxtaposition of the sublime with Sehnsucht, or the potentially endless longing (...) for an irretrievable past, and trauma, or the potentially endless rehearsal of an unforgettable past. (shrink)

The word “romanticism” designates in German as in other European languages a broad movement in literature that originated at the beginning of the nineteenth century and has often been characterized as an opposition to the preceding age of rationalism and Enlightenment. Situated between the classicist schools of taste of the previous century and the realistic and naturalistic trends in literature of the later nineteenth century, Romanticism or romantic literature is the product of the creative power of the imagination; (...) it appeals to the emotions, has a preference for the mysterious aspects of nature, and shows a strong predilection for the past, the Middle Ages, and mythological traditions. With its strong affinity to the novel, romantic literature departs from the classical forms and the classicist canon of literature, but when these classical forms were nevertheless used by the authors of this movement, something new was created – the romantic tale, the romantic drama, and romantic poetry. The great romantic authors in Germany were E. T. A. Hoffmann, Eichendorff, Brentano, Arnim, and Fouqué. There is both a narrower and a broader notion of Romanticism in Germany, the broader also relating to painting (Friedrich, Runge) and music (Schumann, Schubert, Mendelssohn, Bartholdy, Wagner). Romanticism had a great impact on the general view of the world and was influential in the rise of the historical consciousness, the revival of a religious spirit, and the emergence of a conservative political attitude. As far as philosophy and the sciences are concerned, Romanticism is associated with figures such as Schelling and Schopenhauer, the development of a philosophy of art, of nature, and of the subconscious. On the whole, Romanticism is one of those movements that shaped an entire age and manifested itself down to the most particular features of popular belief and scientific interest. (shrink)

The article is devoted to postmodernism musical performance. There was realized a comprehensive retrospective analysis of the phenomenon development from ancient period to nowadays. It was proved that in ancient times interpretation was explained as a form of mythological worldview embodiment; in the Middle Ages as a way of uniting man and God; in Rrenaissance as a means of harmonizing material and spiritual components of personality; in Baroque as a method of theatricality of person's existence; in Classicism as an opportunity (...) to assert the power of human mind; Romanticism emphasized emotionality and subjectivity of concerting, the unique role of master; Modernism declared freedom of interpretation. Understanding the essence of musical performance with each historical stage became deeper, was enriched with new terminological, depth of scientific and theoretical understanding. The musical performance of postmodernism as a unique phenomenon has its own chronology of formation and development, based on achievements of previous epochs, transformed in accordance to philosophical aesthetics of the late XX century. Its outstanding constitutive qualities are: anthropology, religiosity, spirituality, meditation, improvisation, humanism, dialogicity, theatricality, rationalism, intellectualism, emotionality, playing, intertextuality, polystylistics etc. The performing art of postmodernism embodies the conceptual principles of its time: pluralism, irony, collage, synthesis, the death of the author, so on. It unites, eclectically mixes different artistic traditions and views, it forms a unique interpretive vision of musical text, demonstrates openness to dialogue with different historical epochs and civilizations, aimed at both the elite and the mass audience. (shrink)

Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?

Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic entanglements (...) of language and the mind, and also his pervasive pessimism as a philosopher of culture. In this essay I explore and explicate some of the major tenets of this unique position. I argue that Wittgenstein appropriates the Romantic focus on the specificity of musical expression by means of the idea that gesture consists in complex vertical interrelations between language games. Understanding what a musical passage is about logically presupposes a myriad of correlate moves in the entire range of our language-games. Wittgenstein explicates the notion of musical aboutness in terms of intransitive understanding, which expresses an internal relation conjoining musical gesture and our culture, our entire life in practice, whereupon the related concepts cannot be identified independently of the relation which holds them together. Wittgenstein responds to the Romantic focus on the unique knowledge of human life which is afforded by musical experience with his idiosyncratic later notion of Menschenkenntnis. I conclude that, in the context of Wittgenstein’s late work, ineffability pertaining to musical meaning is not a shortcoming, but rather constitutional of the type of games, which admit what Wittgenstein calls ‘imponderable evidence’, or indefiniteness. (shrink)

James H. Donelan describes how two poets, a philosopher, and a composer - Hölderlin, Wordsworth, Hegel, and Beethoven - developed an idea of self-consciousness based on music at the turn of the nineteenth century. This idea became an enduring cultural belief: the understanding of music as an ideal representation of the autonomous creative mind. Against a background of political and cultural upheaval, these four major figures - all born in 1770 - developed this idea in both metaphorical and (...) actual musical structures, thereby establishing both the theory and the practice of asserting self-identity in music. Beethoven still carries the image of the heroic composer today; this book describes how it originated in both his music and in how others responded to him. Bringing together the fields of philosophy, musicology, and literary criticism, Donelan shows how this development emerged from the complex changes in European cultural life taking place between 1795 and 1831. (shrink)

As illustrated in Goethe's famous novel of the same name, elective affinities are powerful relationships that crystallize under changing conditions. In this new book, Lydia Goehr focuses on the history of elective affinities between philosophy and music from German classicism, romanticism, and idealism to the modernist aesthetic theory of Theodor W. Adorno and Arthur C. Danto. Aesthetic theory, she argues, depends on a dynamic philosophy of history centered on tendencies, yearnings, needs, and potentialities. With this in mind, she (...) recasts the theses of Adorno and Danto regarding the death or end of philosophy, art, music, and human experience as arguments for continuation and survival. _Elective Affinities_ tracks the migration of aesthetic and critical theory from Germany to the United States following the catastrophic period of the twentieth century marked by the Second World War. (shrink)

Introduction : music and abstraction -- Music and fantasy -- German romanticism and music -- Negative poetics : on skepticism and the lyric voice -- Rethinking the scale of literary history -- Mozart, Bach, and musical abjection -- Moods at mid-century : Handel and English literature, 1740-1760 -- Passion and love : anacreontic song and the roots of romantic lyric -- Haydn's whimsy : poetry, sexuality, repetition -- Non Giovanni : Mozart with Hegel.

I explore and outline Wittgenstein's original response to the Romantic discourse concerning musical depth, from his middle-period on. Schopenhauer and Spengler served as immediate sources for Wittgenstein's reliance on Romantic metaphors of depth concerning music. The onset for his philosophic intervention in the discourse was his critique of Schenker's view of music and his general shift toward the 'anthropological view', which occurred at the same time. In his post-PI period Wittgenstein was able to reimagine musical depth in terms (...) of vertically interrelated language-games which facilitate Menschenkenntnis. (shrink)

In this Element, the author set out to answer a twofold question concerning the importance of music to Wittgenstein's philosophical progression and the otherness of this sort of philosophical importance vis-à-vis philosophy of music as practiced today in the analytic tradition. The author starts with the idea of making music together and with Wittgenstein's master simile of language-as-music. The author traces these themes as they play out in Wittgenstein early, middle, and later periods. The author argues (...) that Wittgenstein's overarching reorientation of the concept of depth pertaining to music in the aftermath of his anthropological turn, and against the backdrop of the outlook of German Romanticism, culminates in his unique view of musical profundity 'knowledge of people'. This sets Wittgenstein's view in sharp contrast with certain convictions and debates that typify current analytically bent philosophy of music. (shrink)

Wackenroder and the musical conception of early Romanticism.- The early romantic movement brings in a new general conception of art and the artist. Within this context, music is treated as a proper and independent form of art. This paper shows how a reflection on music is to be found expressed in the texts of Wackenroder, which is later to be carried on by other thinkers.

E.T.A. Hoffmann invente la notion de structure pour décrire la forme musicale, lorsque, dans la célèbre recension de la Cinquième symphonie de Beethoven, il l’emploie pour défendre le compositeur contre les accusations de fantaisie débridée et d’imagination désordonnée. Mais est-ce à dire que l’écrivain romantique est un précurseur du structuralisme? Le langage musical a selon lui un sens spirituel qui ne se laisse pas réduire à l’analyse structurelle. Nécessaire à la pensée de la musique, la notion de structure est néanmoins (...) insuffisante car elle ne relève précisément que de la pensée langagière. La structure est une échelle pour s’élever au-dessus d’une écoute chaotique, mais dont il faut se débarrasser si on veut retrouver la signification de la musique. La pensée de l’art, du point de vue du romantisme hoffmannien, est aussi une autocritique de la pensée face à l’art. (shrink)

Carnap famously argued that metaphysics unavoidably involves a confusion between science and poetry. Unlike the lyric poet, who does not attempt to make an argument, the metaphysician attempts to make an argument while simultaneously lacking in musical talent. Carnap’s objection that metaphysics unavoidably involves a blend of philosophy and poetry is not a 20th century insight. Plato, in his beautifully crafted Phaedo, presents us with the imprisoned Socrates, who having been condemned to death for practicing philosophy in the Apology, has (...) a dream in which he realizes that he ought to make music. In this dialogue, however, Plato indicates no hint of the scorn that Carnap has for metaphysics—rather Socrates’ friends find him setting Aesop’s fables to verse. In the modern era, Nietzsche re-introduced the ‘music making Socrates’ in his Birth of Tragedy. But Nietzsche is not the first to revive the concept in modern philosophy. Before Nietzsche’s call for a new music-making Socrates, the early German Romantics, in particular Schlegel, explicitly called for the identification of poetry and science in the concept of Poesie. As Schlegel writes: ‘Alle Kunst soll Wissenschaft werden, und alle Wissenschaft Kunst werden; Poesie und Philosophie sollen vereinigt sein.’ On the one hand, in Ion Socrates is not wrong to critique Ion for not knowing the significance of his own work. On the other hand, Socrates himself recognizes in Phaedo that he is guilty of failing to heed the call to make music. Long misunderstood, the Romantic concept of Poesie is not mere irrationalism, for it offers an aesthetic metaphysics of the Absolute. Romanticism is indeed a philosophy of the Absolute, but one which cannot conceive of any solution to the profound impasses that confront philosophical knowing except by learning to make music. (shrink)

O presente artigo visa problematizar a concepção de música proposta pelo filósofo Friedrich Schelling em sua obra ‘Filosofia da Arte’, na qual essa forma artística é concebida enquanto uma potência real do Absoluto. Desse modo, pretende-se apontar para o caráter inovador e peculiar da concepção schelliniana em contraste com a noção romântica de música absoluta, assim como situá-la dentro do panorama geral do sistema de identidades desenvolvido pelo autor. -/- This article aims to discuss the musical conception proposed by German (...) philosopher Friedrich Schelling in his work ‘Philosophy of Art’, which conceives music as a real potency (Potenz) of Absolute. Therefore, we intent to underlie the peculiar and original aspects of Schelling’s ideas as they are demonstrated by his philosophical system of identities, in contrast with the romantic notion of absolute music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 125-142 [Access article in PDF] Hölderlin's Poetic Self-consciousness James H. Donelan Nur ihren Gesang sollt' ich vergessen, nur diese Seelentöne sollten nimmer wiederkehren in meinen unaufhörlichen Träumen. I should forget only her song, only these notes of the soul should never return in my unending dreams. Hölderlin, Hyperion I FOR MANY YEARS, Friedrich Hölderlin has occupied a crucial position in both literary and philosophical (...) history. Well-known literary theorists, such as Walter Benjamin, Peter Szondi, and Paul de Man, have described him as the poet who made the transition from German Classicism to Romanticism. Several major philosophers, including Dieter Henrich and Manfred Frank, claim that Hölderlin's insights into Kantian and Fichtean metaphysics were vital to Schelling's and Hegel's far more famous accounts of subjectivity. Either contribution alone would make Hölderlin an important figure in intellectual history; it is almost miraculous that he managed both, especially when one considers the brevity of his career, a span of only ten or twelve productive years.What accounts for this remarkable dual achievement? Historical accident and tremendous talent give us only a partial answer. Hölderlin was fortunate to have Hegel and Schelling as close friends at the Tübinger Stift, and to move to Jena precisely when it had become a center for new thinking in both literary and philosophical circles. He had enormous ability both for ancient Greek and poetic meter, allowing him to benefit from his predecessors and his contemporaries [End Page 125] in remarkable ways. However, his parallel accomplishments in philosophy and poetry are linked by more than just happenstance and genius. In my view, they represent the continuous development of a solution to a single problem, that of self-consciousness, realized in poetic form through an idea of music. For Hölderlin, making the transition from philosopher to poet required him to establish a connection between Idealist theories of self-consciousness and the material world. To meet this challenge, he constituted himself as a self-conscious poet through both theoretical and actual poetic creations, and constituted a musical-poetic voice, or Gesang, within his poetry as a means of joining the abstractions of philosophy with the concrete voice of the poet.The background of this transformation lies in the complex history of the idea of self-consciousness, or subjectivity. In the early Idealist accounts of self-consciousness of Kant and Fichte, the subject recognizes its existence by juxtaposing itself with an object. However, the nature of this object, and the connection between the abstract, theoretical construction of the subject and the actual, practical experience of the conscious self posed a problem that neither philosopher solved definitively. For Kant, self-consciousness emerges from a pre-reflective sense of the self's existence as the subject of different experiences of phenomena over time; self-consciousness therefore arises from a deduction of empirical experience. However, this formulation contains a surprisingly belated and unmotivated version of the self, with no clear account of its origin.Fichte answered the question about the origin of the self by stating that the self posits itself through its opposition to a material object, a non-self he calls the Nicht-ich, and becomes self-conscious by differentiating the Ich from the Nicht-ich and declaring "I am I." Fichte's explanation of self-consciousness as an act rather than an entity nevertheless relies on a kind of solipsism and still does not sufficiently address the ultimate cause of the process. The Ich that declares its own existence must distinguish itself from the Nicht-ich somehow; the relation between the two terms presupposes a subject that already possesses sensory apprehension to create the distinction between Ich and Nicht-ich necessary for the initial positing of the self.Either explicitly or implicitly, both Kant's and Fichte's versions of subjectivity rely on the category of the aesthetic, defined as the experience of precognitive sensation in general, to mediate the encounter between subject and object. Kant later expanded his inquiry [End Page 126] into... (shrink)

This article argues that Busby Berkeley’s unique musical spectacles invert the cinematic taxonomy found in Deleuze’s twin volumes on Cinema through the process of ‘becoming-music.’ By taking up a form that I term ‘visual-music,’ in which musical properties are incorporated within the image, Berkeley’s work problematizes Deleuze’s philosophy of cinematic sound and benefits instead from the conceptions of the musical refrain and rhythm located in Deleuze and Guattari’s A Thousand Plateaus. Breaking away from traditional Deleuzian readings of cinema, (...) I demonstrate, through a close textual analysis of Berkeley’s use of both the aural and visual refrain, that Berkeley’s images become ‘visual-music’ in order to deterritorialize the sound rather than the image. Using the ‘Shadow Waltz’ from Gold Diggers of 1933 as an example, I argue that a Berkeley musical number resituates the music’s territory of soft romanticism to reveal the sexuality inherent in the sonic forms of popular music. (shrink)

To a modern observer of Western culture, Romanticism might appear conflicted about size. On the one hand, the likes of Chopin and Scriabin best expressed themselves through small-scale compositions, while, on the other, there were those who, like Wagner and Mahler, produced colossal works. The aim of the present article is to explore the phenomenon of miniaturization in Western culture and to examine how miniature works (e.g., literary fragments, preludes) competed with their much larger counterparts. My central claims are (...) threefold: (1) that miniaturization, contrary to common belief, is not a contemporary phenomenon; (2) that the attitude of Romanticism to size was not paradoxical but rather an attempt to harmonize the fragment and the colossal; and (3) that in contemporary culture, the fragment and the colossal are no longer in harmony with each other. (shrink)

Kant’s conception of nature’s having a “purposiveness without a purpose” was quickly picked by the Romantics and made into a theory of art as revealing the otherwise hidden unity of nature and freedom. Other responses (such as Hegel’s) turned instead to Kant’s concept of judgment and used this to develop a theory that, instead of the Romantics’ conception of the non-discursive manifestation of the absolute, argued for the discursively articulable realization of conceptual truths. Although Hegel did not argue for the (...) “end of art” (although it is widely held that he did just that), he did, curiously enough, claim that it is art and not philosophy which tells us about the “life” of agents. To see how he reconciles that claim with his otherwise entirely discursively oriented philosophy, it is necessary to look at his thesis of the end of art’s “absolute” importance. Hegel’s worries have to do with the impossibility of fully exhibiting the “inner” in the “outer” in modern art and with the newly emerging problem of “fraudulence” in the poet’s voice. This is illustrated by examples drawn from the history of music and the problems besetting the lyric poet in modern life. Because of these problems, we are, Hegel says, now “amphibious animals” having to live in different and seemingly incompatible worlds. Hegel’s student, Heinrich Heine, found that the only satisfactory way of responding to this was for the modern artist to adopt a distinctive type of irony in response to the Hegel’s worries about modern art. This form of irony, it is argued, is itself Hegelian in spirit. (shrink)

Odour-sound correspondences provide some of the most fascinating and intriguing examples of crossmodal associations, in part, because it is unclear from where exactly they originate. Although frequently used as similes, or figures of speech, in both literature and poetry, such smell-sound correspondences have recently started to attract the attention of experimental researchers too. To date, the findings clearly demonstrate that the majority of non-synaesthetic individuals associate orthonasally-presented odours with various different sound properties, e.g., pitch, instrument type, and timbre, in a (...) non-random manner. What is more, these auditory-olfactory associations exhibit a number of features that are common to other crossmodal associations, such as their consistency over time, and their bidirectionality. However, the psychological mechanism underpinning these associations in the general population remain unclear, with a number of distinct hypotheses having been put forward over the years. In this chapter, we consider auditory-olfactory associations in art and science, focusing on poetry, music composition, and performance. First, we provide examples of the use of auditory-olfactory synaesthetic metaphors in poetry, from William Shakespeare through to Romanticism, illustrating how crossmodal associations have appeared in literature for centuries. Then, we move on to focus on music composition and performance, describing a number of examples where auditory stimuli have been purposely matched with crossmodally corresponding olfactory and/or visual stimuli. Considering the scientific study of smell-sound correspondences, we review the key psychophysical studies demonstrating that, beyond the artistic context, robust and non-random crossmodal associations are also triggered in the majority of the general population. We discuss a number of hypotheses that have been put forward over the years to account for such associations, focusing on the idea that certain correspondences between olfactory and auditory stimuli are mediated by the emotional character of the component stimuli. (shrink)

The article considers A.F. Losev''s philosophy of music in the context ofhis entire religious worldview and as the part of hisChristian-Neoplatonic philosophy. Synthesizing Pythagorean-Platonic andRomantic musical doctrines, Losev concludes: music is the expression ofthe life of numbers, a meonic-hyletic element that rages inside numericconstructions. So it is necessary to analyse the concept of number inthe system of Neoplatonic thought. In the Neoplatonic hierarchy of theuniverse both numeric sphere and music are located at the source of allthe eidei, (...) above them and between the One (the first hypostasis) and theWorld Intelligence (the second hypostasis). Then music is considered inthe context of the relation between the uncreated Absolute (Tetrade A)and the created world (Tetrade B). Losev''s doctrine on the Tetrades Aand B (connected not by essence but by energies) is the importantmodification of Neoplatonism. Finally the article considers Losev''saccount of music in relation to the absolutized individual person. (shrink)

There can be no question, of course, of any "influence" of Kant's or Rousseau's ideas on Mozart's musical structures. While I have used various loosely synonymous nonmusical terms—reverie, dream, unconscious, ethereal, and so on—the analysis could proceed on a nonmetaphorical, strictly technical basis. Indeed, much of it has. I should therefore clarify why I have superimposed this philosophical and literary layer on the musical analysis, even at the risk of giving the false impression that I wished to make the history (...) of music dependent upon the history of ideas.My answer lies, first of all, in the contention—in which I follow chiefly Michel Foucault, though with qualifications—that at every period in history a subterranean network of constraints governs the organization of human thought. Different fields develop and change in parallel not because they affect one another but because the infrastructures of mental activity affect them all. In this respect, the relationship of music and philosophy is no different from the relationship of literature and philosophy. The infrastructure is the precondition of thought and is by definition unconscious and unarticulated. Because it lies outside the limits of the individual disciplines, it cannot really be formulated within any of them. Hence arises the necessity of comparative study. The infrastructure comes to light at the juncture of independent fields. In the present case, it is accurate to say that music and philosophy mutually illuminate one another precisely because they are such different media; where they coincide lie the true invariants of eighteenth-century thought.Marshall Brown, an associate professor of English at the University of Colorado, Boulder, is the author of The Shape of German Romanticism, and Pre-Romanticism: Studies in Stylistic Transformation. (shrink)

This article presents Jean-Luc Nancy’s ideas of music in relation to being singular plural. Nancy elaborates on the themes of sharing of voices and of resonance in several texts, and he relates resonance specifically to sound, voice, and music. Although in other contexts Nancy thinks that the question of the subject belongs to the past, he maintains the question of the subject in the context of sonority. We will see that this subject is not only the subject of (...) sensation but more precisely the musical subject. Finally, we will see how musical themes help him deconstruct the idea of community on individual, dialogic, and collective levels. Nancy opposes his idea of musical community to the total musical community that characterizes Romanticism. In the end, he objects to all forms of formatting in genres and invites to open, active, and inventive forms of listening all sounds that resonate in the world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Alexandra Kertz-Wezel, “The Magic of Music”Joyce Eastlund GromkoIn her paper, "The Magic of Music," Kertz-Wezel proposes that music be "a means to transform emotions and experience life more intensely." She goes on to speculate that "not only the way of listening and performing Western European art music in educational settings, but also the music itself may prevent individuals from further involvement in (...) classical music." Her goals are involvement [End Page 117] in art music and a deepening and enhancing of individuals' lives through aesthetic experience. Kertz-Wezel grants as reasonable the idea that education should start with an individual's experience 1 and should follow with a series of "intensive musical experiences." With all of this, I can agree.However, whereas we share the goal of transformative music education through aesthetic experience, we differ in the means by which we would accomplish our goal and we differ for philosophical reasons. Kertz-Wezel promotes an approach to music experience that celebrates individuality and a return to Romanticism.2 By contrast, I have developed an approach to music experience that depends on collaborative music-making and that emphasizes the social and interpersonal context, as opposed to the individual. I would like to describe how my approach, contrary to the individualistic approach espoused by Kertz-Wezel, nevertheless accomplishes the goal of transformative music education.My approach is grounded in principles abstracted from the writings of John Dewey.3 Like Dewey, I believe that the only true education comes through the stimulation of an individual's powers by the demands of the social situations in which individuals find themselves.4 Therefore, in the schools that serve as field and research sites for our university, we create communities of musical practice in which individuals gain the full and ready use of all their capacities while performing newly composed art music.5 Every year a set of new works are composed especially for our students by composers at our university. Through the process of actualizing a piece of art, our students are "stimulated to act as member(s) of a unity, to emerge from (their) narrowness of action and feeling, to conceive of (themselves) from the standpoint of the welfare of the group to which (they) belong."6 The image of a fully engaged community member stands in stark contrast to that of the young woman in Kertz-Wezel's paper who, in describing her experience at the rock concert, said, "You don't think about what you are doing. You do what you feel like, without even thinking about it." When in a trance, individuals are detached from, not connected to, their physical surroundings.7 When in a state of ecstasy, individuals are carried beyond rational thought and self-control.8 It is impossible for me to imagine how an individual in a state of semi-conscious detachment, lacking in rational thought and self-control, can be learning.9Students in communities of musical practice are fully conscious of the value that they have to the group and "the value is reflected back into them."10 They learn to listen intently to other performers within the ensemble. They learn to communicate with one another in the symbol system of music and their musical babblings are transformed into articulate language.11 They become literate when they actualize into musical art what is embedded in the abstract symbols in a score. Through the process of actualizing pieces of musical art, students [End Page 118] heighten their perceptions and strengthen their connections. They have the kind of aesthetic experience described by Dewey:The material of esthetic experience in being human—human in connection with the nature of which it is a part—is social. Esthetic experience is a manifestation, a record and celebration of the life of a civilization, a means of promoting its development, and is also the ultimate judgment upon the quality of a civilization. For while it is produced and is enjoyed by individuals, those individuals are what they are in the content of their experience because of the cultures in which they participate.12The active, social, music-making approach to music education has considerable resource implications for... (shrink)

Book review of contributions from scholars of 19th-century German.

This paper presents the results of empirical research conducted to examine the opinion of teachers of vocal, instrumental, and theoretical teaching at Croatian and Serbian music schools on distance learning. The survey was conducted during May 2020, at a time when all music schools have completely switched to a distance learning system due to the COVID-19 pandemic. The results showed that teachers, despite numerous problems, especially poor internet connections and poor sound quality obtained by electronic devices, have (...) successfully coped with the realization of distance music teaching. Statistically significant differences were found in teachers’ responses about distance learning regarding the type of classes led by teachers, so teachers who lead instrumental and vocal classes are better at performing distance learning compared to those who lead theoretical classes. Despite the belief of teachers that the transfer of complete knowledge is impossible through technology, most of them are open to the possibility of meaningful application of ICT. Therefore, the issue of professional development and continuous support to teachers by the competent institutions of Croatia and Serbia is intensifying. (shrink)

Time in romantic philosophies of music.- Romanticism, as an intellectual movement, presupposes a new vision, one which we are still living off. This paper makes a critique of time in the music of the period, and in musical thought of the period (taking for granted that the music and the thought are eseentially related). In this context, the question is raised, what conception of time is to be found in the philosophers of the nineteenth and twentieth (...) centuries? This leads on to a study of time in music and in musical theory, especially in those of the nineteenth centuries. (shrink)

In July 1809, E. T. A. Hoffmann received a copy of the score to Beethoven's Fifth Symphony and in July 1810, he published a review of the Fifth Symphony in the German journal for music criticism Allgemeine musikalische Zeitung. Hoffmann need not have actually heard a performance; in his review, the purely musical analysis could easily have been based entirely on his reading of the score. In its basic structure, the review follows the pattern of reviews published in the (...) AMZ. What is groundbreaking, however, is what Hoffmann has done with the introductory portion: Hoffmann serves up a full-blown theory of musical romanticism. His idea is to put Beethoven forward as the ultimate musical romantic. (shrink)

The paper examines the meanings of representations of Serbia, the Balkans and Europe at the time of encounter between Enlightenment and Romanticist traditions. The analysis starts from the assumption that the emergence of negative representations of South Eastern Europe cannot be discussed without placing it within the broader context of 18th and 19th century philosophy and literature and the consequences of new philosophical and literary ideas. Underlying the substantial change of the previously dominant paradigms that is expressed in the symbolic (...) division into 'West' and "East', there was a factual rather than symbolic division into an industrial and an agricultural Europe, whose boundaries coincided with the reference points of the symbolic distinction. Insisting on the importance of both analytic levels - the 'symbolic' and the 'factual' - the first section of the paper briefly outlines the development of symbolic geography in the context of 'Balkan' studies in the 1990s, as well as the failure of this genre and the constructivist paradigm in Serbian social theory. The second section is devoted to the discourses of conceptualizing broader communities in symbolic, linguistic, imagological, cultural, political, economic etc. terms, focusing on the beginnings of ideological and linguistic unification of South Slavs and their inclusion into the "enlightened Europe". By analyzing Vuk Stefanovia: Karadzix's writings, as well as correspondence, articles and commentaries referring to Vuk's work in the first half of the 19th century, the author takes the perspective of the past in order to identify the reasons for the failure of imagological and constructivist approach today. U ovom tekstu autorka istrazuje znacenja predstava o Srbiji, Balkanu i Evropi u vremenu susreta prosvetiteljske i romanticarske tradicije. Polaziste je u pretpostavci da se o pocecima negativnih predstava o jugoistocnom delu Evrope ne moze govoriti izvan sireg konteksta filozofije i knjizevnosti XVIII i XIX veka i posledica novih filozofskih i knjizevnih ideja. Sustinska pramena do tada vladajucih paradigmi, izrazena simbolickom podelom na 'Zapad'i 'Istok', u osnovi je imala manje simbolicku a vise fakticku podelu na industrijsku i zemljoradnicku Evropu, cije su se granice uglavnom poklapale sa referentnim tockama simbolicke distinkcije. Potencirajuci vaznost obaju nivoa u analizi, 'simbolickog 'i 'faktickog', prvi deo teksta odnosi se na sazeto predstavljanje razvoja simbolicke geografije u kontekstu studija o Balkanu devedesetih godina proslog veka, kao i na neuspeh ovog zanra i konstruktivisticke paradigme u srpskoj drustvenoj teoriji. Drugi deo teksta posvecenje diskursima osmisljavanja vecih zajednica na simbolickim, jezickim, imagoloskim, kulturnim, politickim, ekonomskim i dr. osnovama, sa fokusom na pocetke idejnog i jezickog ujedinjenja Juznih Slavena, kao i njihovog ukljucenja u prosvecenu Evropu. Analizom tekstova Vuka Stefanovica Karadzica, kao i prepiskama, clancima i komentarima koji su se odnosili na Vukov rad u prvoj polovini XIX veka, autorka iz perspektive proslosti pokusava da ukaze na razloge neuspeha imagoloskog i konstruktivistickog pristupa u savremenosti. (shrink)

Ayn Rand was both an artist and an esthetic theorist. The essence of Rand's view of art is that an artwork presents a philosophy, that is, a basic view of life. To identify what an artwork concretizes, Rand introduces her concept of metaphysical value‐judgments. Rand's esthetic theory, being reached inductively rather than being deductively imposed on phenomena, allows for special cases which differ in certain respects, such that the same general principles apply in a somewhat different way. Architecture and (...) class='Hi'>music are such cases. Rand's championing of Romanticism is one more case in which she applies the principle that underlies her entire esthetics. Art serves a fundamental need of man's consciousness by bringing his concepts to the perceptual level of his consciousness and allowing him to grasp them directly, as if they were percepts, thereby unifying man's consciousness and offering him a coherent view of existence. (shrink)

In the romantic period, there emerged a lot of piano works with colorful creation methods, which brought people infinite enjoyment of beauty and triggered countless discussions. Starting from the Romantic period, this paper analyzes the aesthetic characteristics of piano art, discusses its aesthetic essence, and traces its development source, aiming to deepen the public's cognition of piano art, strengthen the importance of piano art, give play to the influence of art, let aesthetics penetrate into the public and enrich the emotional (...) experience of the public. Guided by the dialectical materialist philosophy of Hegel, who is the master of classical philosophy, this paper analyzes the philosophical basis of his theory of aesthetic study of piano art and its relationship with the musical language and musical works of romantic piano musicians in the 19th century, and draws a conclusion that the artistic aesthetics of romantic piano and the artistic core of classical philosophy are embodied. The piano works of Romanticism "go back to the inner world" are the double presentation of the music language based on emotion theory and the artistic core of classical philosophy. (shrink)

Music occupies a special place in George Steiner’s thinking: “Three areas: the essence and name of God, higher mathematics and music (what is the connection between them?) are located at the limits of language” (Steiner, Errata). The seemingly rhetorical question in parentheses turns out to be a source of deep controversy, the essence of which is revealed in historical-genealogical reflection. Steiner attempts to incorporate Romantic metaphysics within the traditional scholastic symbiosis of Biblical creationism and Pythagoreanism, which reveals his (...) philosophy of music to be entangled in a range of contradictions. On the one hand, a critical reading of Steiner's works uncovers the difficulties posed by the attempt to reconcile pre- and post-Enlightenment culture; on the other hand, the still unused opportunities offered by Romanticism and its modernist continuations are clearly visible. Musical aesthetics, rooted in the idea of infinity, plays a crucial role in these divagations. (shrink)