{"id":1405,"date":"2024-06-10T10:00:02","date_gmt":"2024-06-10T13:00:02","guid":{"rendered":"https:\/\/humanas.blog.scielo.org\/en\/?p=1405"},"modified":"2024-06-10T09:09:37","modified_gmt":"2024-06-10T12:09:37","slug":"eduard-hanslicks-aesthetics-go-into-philosophy-of-mind-and-epistemology","status":"publish","type":"post","link":"https:\/\/humanas.blog.scielo.org\/en\/2024\/06\/10\/eduard-hanslicks-aesthetics-go-into-philosophy-of-mind-and-epistemology\/","title":{"rendered":"Eduard Hanslick’s \u201caesthetics\u201d go into Philosophy of Mind and Epistemology"},"content":{"rendered":"

Ricardo Miranda Nachmanowicz, Guest Lecturer at Graduate Program in Philosophy of Universidade Federal de Ouro Preto (UFOP) \u2013 <\/span> Brazil. Resides in Gainesville, Fl, USA.<\/b><\/p>\n

\"Logo<\/a><\/p>\n

The paper Epistemology and autonomy in Hanslick\u2019s concept of musical ideas<\/a><\/span>, published in the journal <\/span>Trans\/form\/a\u00e7\u00e3o<\/span><\/i>,<\/span> discusses Hanslick’s epistemological theory about musical autonomy. The defense of this principle, as we know, is the main reason why Hanslick wrote his essay, also known as his “positive thesis”, which consists, in a general sense, of an identification between the finality of music with attention in listening parameters in an unimodal way (auditory sensory modality).<\/span><\/p>\n

In this sense, Hanslick’s real efforts are far from his “negative thesis,” although it is a more well-publicized subject. His “negative thesis” on how impossible or sometimes difficult it is for music to express semantic content or consistently express a specific feeling does not explain musical autonomy.\u00a0<\/span><\/p>\n

Thus, most of Hanslick’s argument was to dispute the perception categories of pure instrumental music appreciation and to show how these categories are related to specifically auditory mental activity, making the invention of musical autonomy possible. In philosophical terms, Hanslick undertook an epistemological analysis of the auditory perception related to music.\u00a0<\/span><\/p>\n

Unlike the widespread idealism of his life period, Hanslick addressed his investigations as an analytical approach to the listening experience, precisely the listening of classical instrumental concert music. European audiences have been constantly listening to classical repertoires for about a century, but how was it possible to listen to pure instrumental music? The answer provided by Hanslick was that composers had developed a strategy to maintain all the aesthetic interest in the audible field. We find the synthesis of this strategy, translated to an epistemological investigation, in the concept of “musical idea.”\u00a0<\/span><\/p>\n

\"A<\/a>

Imagem: Wikimedia Commons<\/a>.<\/em><\/p><\/div>\n

A musical idea is what a musical piece provides: the structure that attracts the listener and the object described as beauty. To promote that kind of structure, the composer utilizes the motive cell and the tonal harmonic laws to make intricate forms for the listener. The composer, to do that \u2013 and here is where the analysis of Hanslick is more discerning \u2013 mobilizes a wide range of human faculties integrally. The practical and scientific knowledge of acoustical features, psycho-acoustical laws, and abstract mental formations of sound and musical objects are all elements of musical listening: an integrative comprehension of the human mind with a solid empirical basis.\u00a0<\/span><\/p>\n

In the book Logic and Music (Nachmanowicz, 2014), I have identified that Hanlisck’s objective-oriented aesthetics are directly opposed to Kant’s subjective-oriented aesthetics. Although both authors think about art or music in an epistemological manner, the guidelines of each project are not relatable. Hanlisck’s epistemology cannot be related to idealism.\u00a0<\/span><\/p>\n

So, what was the philosophical background of Hanslick’s epistemology? That question, an essential historical inquiry, became an investigation led by Alexander Wilfing (2023), who showed us that the scientific, objective, and empirical-oriented philosophy of Hanslick is related to the kind of positivism defended by Herbart’s philosophy.\u00a0<\/span><\/p>\n

About Ricardo Miranda Nachmanowicz<\/span><\/h3>\n

Ph.D in Contemporary Philosophy at Universidade Federal de Minas Gerais \u2013 UFMG. Post-Doctorate in Aesthetics at Universidade Federal de Ouro preto \u2013 UFOP.\u00a0\u00a0<\/span><\/p>\n

References<\/span><\/h3>\n

BOURDIEU, P. Les r\u00e8gles de l\u2019art. Gen\u00e8se et structure du champ litt\u00e9raire. Paris: \u00c9ditions du Seuil, 1998.<\/span><\/p>\n

DAHLHAUS, C. Esthetics of Music. Trowbridge: Cambridge University Press, 1982.\u00a0<\/span><\/p>\n

HANSLICK, E. Vom Musikalisch-Sch\u00f6nen. Ein Beitrag zur Revision der \u00c4sthetik der Tonkunst [online]. Leipzig: Druck und Verlag von Breitkopf & H\u00e4rtel, 1922 [viewed 10 June 2024]. Available from:<\/span> https:\/\/www.gutenberg.org\/files\/26949\/26949-h\/26949-h.htm<\/span><\/a>.\u00a0<\/span><\/p>\n

NACHMANOWICZ, R. L\u00f3gica e m\u00fasica: conceitualidade musical a partir da filosofia de Kant e Hanslick. Belo Horizonte: Relic\u00e1rio, 2014.\u00a0<\/span><\/p>\n

TOM\u00c1S, L. \u00c0 procura da m\u00fasica sem sombra. Chabanon e a autonomia da m\u00fasica no s\u00e9culo XVIII. S\u00e3o Paulo: Editora Unesp, 2011.\u00a0<\/span><\/p>\n

WILFING, A. Hanslick, Kant, and the Origins of Von Musikalisch-Sch\u00f6nen. Musicologica Austriaca: Journal for Austrian Music Studies, 2018 [viewed 10 June 2024]. Available from: <\/span>https:\/\/www.musau.org\/parts\/neue-article-page\/view\/47<\/span><\/a><\/p>\n

To read the article, access\u00a0<\/span><\/h3>\n

NACHMANOWICZ, R.M. Epistemologia e autonomia no conceito de ideia musical de E. Hanslick. <\/span>Trans\/form\/a\u00e7\u00e3o<\/span><\/i> [online]. 2024, vol. 47, no. 3, e02400166 [viewed 10 June 2024]. <\/span>https:\/\/doi.org\/10.1590\/0101-3173.2024.v47.n3.e02400166<\/span><\/a>. Available from: <\/span>https:\/\/www.scielo.br\/j\/trans\/a\/6rFwxGy5vt68mJmJYvzhMHx\/<\/span><\/a>\u00a0<\/span><\/p>\n

External links<\/span><\/h3>\n

Trans\/Form\/A\u00e7\u00e3o \u2013 TRANS: https:\/\/www.scielo.br\/trans\/<\/a><\/p>\n

Trans\/Form\/A\u00e7\u00e3o \u2013 Journal: Instagram<\/a> | Facebook<\/a> | Academia.edu<\/a><\/p>\n

Ricardo Miranda Nachmanowicz \u2013 ORCID: <\/span>https:\/\/orcid.org\/0000-0002-0807-5037<\/span><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Hanslick, author of “On the Musically Beautiful,” is a prominent figure of Music Autonomy. In opposition to principles of musical signification, he argued that musical meaning lay in the structure and intrinsic elements of the composition. This analysis concludes that his “musical idea” concept is an epistemological formulation; therefore, his “aesthetics” must be interpreted also as a Philosophy of Mind and Epistemology, both strongly influenced by positivism. …<\/span> Read More →<\/span><\/a><\/span><\/p>\n","protected":false},"author":653,"featured_media":1408,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[7,110],"tags":[146,111],"class_list":["post-1405","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-press-release","category-trans","tag-philosophy","tag-trans-form-acao"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t