Husserlian Notion of Inner Perception, Sound Qualities and the Philosophy of Music in Geiger

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F16%3A33162024" target="_blank" >RIV/61989592:15210/16:33162024 - isvavai.cz</a>

Výsledek na webu

—

DOI - Digital Object Identifier

—

Jazyk výsledku

angličtina

Název v původním jazyce

Husserlian Notion of Inner Perception, Sound Qualities and the Philosophy of Music in Geiger

Popis výsledku v původním jazyce

Edmund Husserl's views of intentionality and some of his rare statements about sound qualities include an interesting momentum, which can be brought in connection to developments of other branches of that time, including music. The paper concentrates on the context and character of shifts in musical style, mainly those that went along with impressionism, and the rise of the phenomenological treatment of sound qualities (Husserl, Stumpf, Hornbostel, Plessner). It is argued that the perception of music appears to be close to inner perception, in which consciousness turns inwards and confronts itself with the act and not with the object. Revelatory considerations of Moritz Geiger, who considered experiencing music with respect to the realm of auditory perception, and on that basis expressed the assumption of a weaker aesthetic distance in music perception, show how the phenomenology of sound can be germane for the topic of music experience.

Název v anglickém jazyce

Husserlian Notion of Inner Perception, Sound Qualities and the Philosophy of Music in Geiger

Popis výsledku anglicky

Edmund Husserl's views of intentionality and some of his rare statements about sound qualities include an interesting momentum, which can be brought in connection to developments of other branches of that time, including music. The paper concentrates on the context and character of shifts in musical style, mainly those that went along with impressionism, and the rise of the phenomenological treatment of sound qualities (Husserl, Stumpf, Hornbostel, Plessner). It is argued that the perception of music appears to be close to inner perception, in which consciousness turns inwards and confronts itself with the act and not with the object. Revelatory considerations of Moritz Geiger, who considered experiencing music with respect to the realm of auditory perception, and on that basis expressed the assumption of a weaker aesthetic distance in music perception, show how the phenomenology of sound can be germane for the topic of music experience.

Druh

J_x - Nezařazeno - Článek v odborném periodiku (Jimp, Jsc a Jost)

CEP obor

AL - Umění, architektura, kulturní dědictví

OECD FORD obor

—

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2016

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

International Review of the Aesthetics and Sociology of Music

ISSN

0351-5796

e-ISSN

—

Svazek periodika

47

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

HR - Chorvatská republika

Počet stran výsledku

16

Strana od-do

207-222

Kód UT WoS článku

—

EID výsledku v databázi Scopus

—