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Muzyka jako projekcja świata. Symbol w polu pojęć pokrewnych w myśleniu muzykologicznym

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Polony L.

Estetyka i Krytyka

2011

issue 1(20)

137-150

This paper presents an evolution of the concepts of “symbol” and “metaphor” from Arnold Schering to Michael Spitzer. The two notions compete in Schering, although symbol, understood as “a musical image of spiritual sense”, ultimately achieves a slight ascendancy. The evolution and a certain convergence of the two concepts in the previous century is seen by the author of these remarks as a symptom of crisis of metaphysical thought in its traditional, “ontotheological” variety and an indication of a shift in the domain of the meaning of a work of music from ontological “epiphany” towards epistemological “world image”. In the face of this change, any attempt at a redefinition of the two concepts seem s cognitively futile and hopeless. Instead of symbol or metaphor in a set and defined sense, it makes more sense to speak in terms of symbolic thinking (Eliade) or metaphoric projection (Spitzer). In his criticism of mechanical transfer of concepts of general theory of sign into musicology and the doomed attempts of systemizing musical signs, the author postulates a holistic approach to the work of musical work or to the phenomenon of historical style. This is only possible through a historically based combination of the hermeneutic and the analytical semiotic perspective.

Muzyka jako gra bycia. Wokół refleksji George’a Steinera o muzyce

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Polony L.

Estetyka i Krytyka

2010

issue 19

113-120

In his monograph on Heidegger and essay about music, George Steiner proposes a thesis on a direct analogy between music and Being. He writes that „Being, in Heidegger’s sense, has similarly to music its own history and meaning, dependence on a human as well as dimensions transcending mankind”. Thus, Being is supposed to be something like the music of all existence, while music itself is supposed to be the discovering of Being. Steiner also states in his treatise on music that according to Greek mythology, ancient primeval violence, transcendence, otherness and non-human nature are inherent in music. Music is capable of depicting the experience of existence in its essence (G. Steiner Martin Heidegger Chicago 1987 and G. Steiner Über Musik in: Errata. Bilanz eines Lebens München 1999).

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2 Estetyka i Krytyka

2 Polony L.

1 2011

1 2010

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Muzyka jako projekcja świata. Symbol w polu pojęć pokrewnych w myśleniu muzykologicznym

Muzyka jako gra bycia. Wokół refleksji George’a Steinera o muzyce