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THE EXPERIENCE OF RESPONSE TO MUSIC IN THE LIGHT OF MERLEAU-PONTY'S PHENOMENOLOGY OF PERCEPTION

100%
Losiak R.
Muzyka
|
2005
|
vol. 50
|
issue 1(196)
87-115
EN
The article attempts to analyse the problem of response to music in the context of phenomenological analysis of the act of perception, undertaken by Maurice Merleau-Ponty in his 'Phenomenology of Perception'. Such a perspective allows to go beyond the framework of artistic and aesthetic analysis in exploring music perception, by making it possible to examine the situation of response to music ('experience of music') as an act of existential significance. According to Merleau-Ponty, the fundamental feature of perceptual relation is that it is rooted in the perceiving subject's body, and its involvement in the situation. Phenomenology regards the act of perception of music in its situational aspect, defined by, among others, such conditions as: space, movement, events, attitude and mood, and also the cultural context. Analysis of perception then proceeds by examining the problems of subjective 'sense experience' (responsive, experiencing aspect) and 'behaviour' (active, expressive aspect). Perception of music, in the perspective defined by Merleau-Ponty's phenomenology of perception, turns out to be a complex human experience, which cannot be contained in a one-directional model of response, aimed at constituting a musical work or other aesthetic object. It is an active experience, which involves the subject wholly (bodily, mentally, emotionally) and is integrally conditioned by the situation. In the context of this analysis, the perceptual situation (musical situation) reveals a reciprocal relationship, a relationship of mutual influence of music and percipient. In this manner the existential aspect of musical perception (as understood by Merleau-Ponty) is revealed: music, by releasing the bodily physicality of the subject, which manifests itself in the sense experience and motor gesture, reveals to him/her his own being-in-the-world, a being situationally defined. In the act of response to music the percipient recognises the world as described and defined by music, and recognises him/herself as a participant in that world.
2
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TEXTUAL HERMENEUTICS: A PATCHWORK OR A WHOLE WOVEN CLOAK? (Hermeneutyka tekstów: patchwork czy szata calodziana?)

100%
Piotrowska M.
Muzyka
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2007
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vol. 52
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issue 3(206)
123-136
EN
In spite of the title, this article is not devoted exclusively to the issue of either unity or dispersion of the achievements of the branch of hermeneutics called (as distinct from philosphical hermeneutics) textual hermeneutics. The extreme form of this unity (as well as continuity) is symbolised here by the 'whole woven cloak'; while the extreme form of non-coherence is referred to as a 'patchwork' with an irregular pattern (the authoress was inspired here by Gadamer's statement that 'the word 'text' really refers to a fabric'). Based on this distinction, the authoress presents a provisional outline of her main thesis: the theory of hermeneutics, with a tradition reaching back to the Stoics' reflections on Homer, represents a continuity, which has been becoming unbreakable since the nineteenth century, while the practice of hermeneutics, initially a regular patchwork (which since the days Schleiermacher has incorporated the psychological aspect, i.e., the personality of the author) shaped by canonical norms, has striven and strives towards freedom, resembling a 'crazy' patchwork, i.e., such in which the sewing on of indiviudal patches is the work of momentary inspiration. The article also emphasises a number of important elements in Gadamer's hermeneutical philosophy which are not sufficiently stressed today. These include the use of the ideas originating from ancient Greece, such as the role of dialogue in bringing about understanding (the influence of Gadamer's study of Plato over many years). The authoress also recalls the influence of Gadamer's thinking on the musicology of H.H. Eggeebrecht, and pays attention to Gadamer's hermeneutical praxis; his studies of the nineteenth- and twentieth-century poetry. These studies bring Gadamer (otherwise regarded as the creator of philosophical hermeneutics) into the hermeneutic of texts - in its modern version, only loosely connected with the canon.
3
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THE LOGICAL STATUS OF ELEMENTARY MUSICAL TERMINOLOGY

100%
Brozek A., Jadacki J.
Muzyka
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2005
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vol. 50
|
issue 1(196)
57-86
EN
The article presents a sample of logical analysis performed on the terminology used to describe 'professional' European music in the eighteenth and nineteenth centuries. Although we basically confined our analysis to the most elementary part of that terminology, we are convinced that our observations apply to musical terminology as a whole. Using examples from a Polish encyclopaedia of music, we demonstrate the faults characteristic of the whole elementary musical terminology. Firstly, elementary musical terms are often badly defined, using definitions which are inadequate or faulty in other, logically important, respects. Secondly, many musical terms are too imprecise to fulfil the function expected of them. Thirdly, musical terminology is not supported, so far, by a clear conceptual framework. In order to eradicate the faults indicated here, terms which contain them should be explicated, their meaning should be reconstructed, and appropriate regulatory definitions should be formulated. At a future date we intend to perform such a reconstruction on the whole of the elementary musical terminology.
4
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THE MUSIC OF PHILOSOPHY. AN ESSAY ABOUT DOUBLE MEANING

100%
Golaszewska M.
Muzyka
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2005
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vol. 50
|
issue 1(196)
5-30
EN
The subject of the article is interpenetrating of the bond between music and philosophy. Employing both the methods of aesthetics and the theory of music has made it possible to take a multidimensional approach to the problem, and to use many examples equally from music and philosophy. The chapter 'Philosophy in Music' demonstrates the degree to which musicians use their 'philosophising' in their creative work. The example used is a composition with a musical narrative on the subject of general ideas: Richard Strauss's 'Thus Spoke Zarathustra'. A Symphonic Poem, Freely Based on Nietzsche, for Grand Orchestra, op. 30. The article reveals some of the devices used by the composer to express, through music, such ideas as the 'theme of Nature', the 'theme of the Spirit' and the joyful 'Dancing Song'. On the other hand, the chapter 'Musical Aspect of Philosophy' demonstrates, using an example from philosophy (S. Kirkegaard''s treatise 'Fear and Trembling'), the degree of 'musicality' in a philosophical work. It is, in a sense, a 'philosophical poem', analogous to a musical poem. We find in it such features as dominance of irrationality over rationality, a structure which has much in common with musical variations, a significant influence of individualism rather than objectivism, and a tendency towards asemanticity.
5
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INDEX AND ICON, METAPHOR AND METONYMY IN MUSIC

75%
Guczalski K.
Muzyka
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2005
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vol. 50
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issue 1(196)
31-55
EN
Analyses of the meaning of music frequently attempt to use theoretical concepts borrowed from other branches of learning - semiotics, linguistics or literary theory, - such as the concepts of symbol, index, iconic sign, metaphor, metonymy and others. The article demonstrates examples of erroneous usage of the concepts of the index and iconic sign in analysis of vocal music, and the doubtful value of using the concept of metaphor in relation to musical meanings. It shows that the typical, frequently quoted examples of claimed indexical signs in music are not true indices, and that the latter are totally absent from the significant meanings of music. On the other hand, the concept of metonymy (which, although related to it, is not an index), applied carefully, may be used to describe some meanings in music, but does not seem to have great explanatory power in relation to music. Further analysis leads to the conclusion that it is the iconic element which plays the fundamental, central role in constituting musical meanings in the overwhelming majority of cases. Out of all the concepts which have been analysed: metaphor and metonymy, index and icon, only the last one applies to music in a significant manner. This does not mean that the nature of all musical meanings is so very uniform. On the contrary, they are very varied, but concepts imported mechanically from other branches of learning are inappropriate for describing this variety. The article finally concludes with the suggestion that, in order to carry out such a description, one should construct a framework of differentiation and categorisation of meanings designed specifically for music.
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