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Musical Phenomenology: Artistic Traditions and Everyday Experience

100%

Szyszkowska M.

Avant

2018

vol. 9

issue 2

141-155

The work begins by asking the questions of how contemporary phenomenology is concerned with music, and how phenomenological descriptions of music and musical experiences are helpful in grasping the concreteness of these experiences. I then proceed with minor findings from phenomenological authorities, who seem to somehow need music to explain their phenomenology. From Maurice Merleau-Ponty to Jean-Luc Nancy and back to Edmund Husserl and Martin Heidegger, there are musical findings to be asserted. I propose to look at phenomenological studies of the musical aspects of existence as they appear in various philosophical works bringing together different accounts of music and aesthetics and pointing towards phenomenological study as a methodology for everyday aesthetics. While there are many different areas of music phenomenology such as studies of sound and listening, studies in perception of musical works, in experience of artistic creation, in singing and playing musical instruments, and phenomenology of transcendent or religious horizons of the experience of music, it is most promising-I suggest-to look at phenomenological studies of music from the perspective of everyday happenings and discoveries of musical aspects of life. Thus, I attempt to display the uses of phenomenology in finding musical aspects of everyday existence as well as in describing and illuminating the art of music. A look at Roman Ingarden’s and Mikel Dufrenne’s most intuitive and promising ideas will be broadened with a perspective from Don Ihde and Arnold Berleant.

Metamorphoses of the Subject: Kandinsky Interpreted by Michel Henry and Henri Maldiney

75%

Yampolskaya A.

Avant

2018

vol. 9

issue 2

157-167

In this paper I compare how Michel Henry and Henri Maldiney interpret Kandinsky’s heritage. Henry’s phenomenology is based on a distinction between two main modes of manifestation: the ordinary one, that is, the manifestation of the world, and the “manifestation of life.” For him, Kandinsky’s work provides a paradigmatic example of the second, more original mode of manifestation, which is free from all forms of self-alienation. Henry claims that this living through the work of art is transformative; it is akin to ascetic practice or mystical experience that goes beyond the distinction of the subject and the object. Maldiney acknowledges Kandinsky’s work as an attempt to provide access to an a-cosmic and ahistoric experience of one’s inner self; yet for him this is not a positive characteristic. For Maldiney, the key distinction is not between modes of phenomenalisation, but between the dimensions of meaning (sens). For him there is no radical self-transformation which is not a transformation of one’s being-in-the-world and one’s meaning of the world, and so Kandinsky’s a-cosmic paintings cannot induce a true transformation of the self. I conclude that the disagreement of Henry and Maldiney on Kandinsky does not unfold on the level of phenomenological description of concrete aesthetic experience, but on the level of metaphysics.

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2 Avant

1 Szyszkowska M.

1 Yampolskaya A.

2 2018

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Musical Phenomenology: Artistic Traditions and Everyday Experience

Metamorphoses of the Subject: Kandinsky Interpreted by Michel Henry and Henri Maldiney