Lógica e Música: Conceitualidade musical a partir da filosofia de Kant e Hanslick

Description

The consolidation of aesthetics as an autonomous research discipline and the development of Romanticism mark the moment when the questions that we now recognize as essentially pertinent to this area of ​​study began to be formulated in a more insistent way: what is music and what is it different from the sound? What place does it occupy in the system of all arts? What can music tell us about and how does it relate to our practical life? How it was affected by evolution contemporary society and mass culture? What could sufficiently determine your identity? When we consider these problems, the names that come to mind spontaneously are those of thinkers from the 19th and 20th centuries: Hegel, Schopenhauer, Nietzsche, Adorno and Goodman. It is precisely in this recent tradition of the history of philosophy that Ricardo Nachmanowicz's work is inscribed, in two senses. First, the question that animates your research concerns, precisely, to what makes the constitution of a musical object possible, and not merely sonorous, that is, what makes the object of our auditory perception, more than a mere set of vibrations of certain frequencies, be music. The main authors who is mobilized to address this problem is Immanuel Kant and Eduard Hanslick, whose famous work The Beautiful in Music would have proposed a third path to the understanding of classical production, moving away, in a complementary way, both from the theory of Empfindsamkeit, in a certain tax sense the affections of the baroque, as well as the programmatic project of absolute music. Foreword 7 Introduction Is it possible to think musically? 13 Part 1. The logical and the aesthetic Chapter 1 Critique of pure aesthetics 33 Chapter 2 Logic as a mixed epistemological discipline 77 Part 2. Musical epistemology Chapter 3 The logical-musical object 111 Chapter 4 Music and knowledge 157