Eduard Hanslick’s Legacy in Moritz Geiger’s Music Aesthetics

Kód výsledku v IS VaVaI

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Výsledek na webu

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DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Eduard Hanslick’s Legacy in Moritz Geiger’s Music Aesthetics

Popis výsledku v původním jazyce

Moritz Geiger, Edmund Husserl’s pupil, was the first phenomenologist to devote himself to the issues of aesthetics throughout all his life. Growing out of a background in psychological aesthetics, mainly the aesthetics of empathy, he was chiefly concerned with the study of aesthetic experience. The present article pays attention to Geiger’s concept of aesthetic enjoyment and especially the position in it of music, while analysing the most important assumptions of Eduard Hanslick’s music aesthetics as Geiger implemented them into his own reasoning. The paper shows that Geiger’s position was mainly rooted in the Kantian formulation of the aesthetic attitude as it was echoed in Hanslick. Both Hanslick and Geiger were helped in their thoughts about the position of music among the arts by the role of perceptual parameters. While Geiger acquired a more differentiated position in classifying aesthetic perception over Hanslick’s brusque distinction between the right (aesthetic) and inappropriate (pathological) experience of art, in the context of his seemingly puritan formalism he could also appreciate Hanslick’s cautious claim about the ideas conveyed by music because his position later shifted toward positing the existential significance of art.

Název v anglickém jazyce

Eduard Hanslick’s Legacy in Moritz Geiger’s Music Aesthetics

Popis výsledku anglicky

Moritz Geiger, Edmund Husserl’s pupil, was the first phenomenologist to devote himself to the issues of aesthetics throughout all his life. Growing out of a background in psychological aesthetics, mainly the aesthetics of empathy, he was chiefly concerned with the study of aesthetic experience. The present article pays attention to Geiger’s concept of aesthetic enjoyment and especially the position in it of music, while analysing the most important assumptions of Eduard Hanslick’s music aesthetics as Geiger implemented them into his own reasoning. The paper shows that Geiger’s position was mainly rooted in the Kantian formulation of the aesthetic attitude as it was echoed in Hanslick. Both Hanslick and Geiger were helped in their thoughts about the position of music among the arts by the role of perceptual parameters. While Geiger acquired a more differentiated position in classifying aesthetic perception over Hanslick’s brusque distinction between the right (aesthetic) and inappropriate (pathological) experience of art, in the context of his seemingly puritan formalism he could also appreciate Hanslick’s cautious claim about the ideas conveyed by music because his position later shifted toward positing the existential significance of art.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Projekt

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Návaznosti

S - Specificky vyzkum na vysokych skolach<br>I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2018

Kód důvěrnosti údajů

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

Název periodika

Musicologica Olomucensia

ISSN

1212-1193

e-ISSN

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Svazek periodika

28

Číslo periodika v rámci svazku

December 2018

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

14

Strana od-do

165-178

Kód UT WoS článku

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EID výsledku v databázi Scopus

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