Open AccessPhenomenological aesthetics of music
Author(s) -
Una Popović
Publication year - 2017
Publication title -
theoria
Language(s) - English
Resource type - Journals
eISSN - 2406-081X
pISSN - 0351-2274
DOI - 10.2298/theo1703212p
Subject(s) - character (mathematics) , phenomenology (philosophy) , aesthetics , the arts , interpretative phenomenological analysis , relation (database) , phenomenon , key (lock) , focus (optics) , phenomenological method , art , epistemology , philosophy , psychology , sociology , visual arts , computer science , mathematics , physics , social science , qualitative research , computer security , database , optics , geometry
The analysis offered in this paper is focused on the consideration of three examples of phenomenological aesthetics of music. Considerations of music which can be found in N. Hartmann, R. Ingarden and M. Dufrenne represent the focus of the analysis with respect to the key differences between their positions, which are the effect of a different use of the phenomenological method in view of the phenomenon of art. The analysis, therefore, is in all three cases conducted through focusing on the relationship between the phenomenological method and the specific character of music in relation to other arts, as well as through a comparison of these positions. The result of analysis represents an insight into new phenomenological understanding of the formal character of the music, as opposed to the tradition of aesthetics.