The historicity of music in Hegel in face of Schoenberg’s twelve-tone music

In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation...

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Author: Kurle, Adriano Bueno
Format: article
Status:Published version
Publication Date:2019
Country:Brasil
Institution:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
Repository:Veritas (Porto Alegre. Online)
Language:English
OAI Identifier:oai:ojs.revistaseletronicas.pucrs.br:article/33169
Online Access:https://revistaseletronicas.pucrs.br/veritas/article/view/33169
Access Level:Open access
Keyword:Hegel
Historicity
Music
Schoenberg
Twelve-tone music.
Philosophy & Interdisciplinarity
Historicidade
Música
Dodecafonismo.
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oai_identifier_str oai:ojs.revistaseletronicas.pucrs.br:article/33169
network_acronym_str BR
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dc.title.none.fl_str_mv The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
La historicidad de la música en Hegel frente la música dodecafónica de Schoenberg
The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
title The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
spellingShingle The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
Kurle, Adriano Bueno
Hegel
Historicity
Music
Schoenberg
Twelve-tone music.
Philosophy & Interdisciplinarity
Historicidade
Hegel
Música
Schoenberg
Dodecafonismo.
Hegel
Historicity
Music
Schoenberg
Twelve-tone music.
title_short The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
title_full The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
title_fullStr The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
title_full_unstemmed The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
title_sort The historicity of music in Hegel in face of Schoenberg’s twelve-tone music
dc.creator.none.fl_str_mv Kurle, Adriano Bueno
author Kurle, Adriano Bueno
author_facet Kurle, Adriano Bueno
author_role author
dc.subject.por.fl_str_mv Hegel
Historicity
Music
Schoenberg
Twelve-tone music.
Philosophy & Interdisciplinarity
Historicidade
Hegel
Música
Schoenberg
Dodecafonismo.
Hegel
Historicity
Music
Schoenberg
Twelve-tone music.
topic Hegel
Historicity
Music
Schoenberg
Twelve-tone music.
Philosophy & Interdisciplinarity
Historicidade
Hegel
Música
Schoenberg
Dodecafonismo.
Hegel
Historicity
Music
Schoenberg
Twelve-tone music.
description In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation and Aufhebung of tonal system in music. Furthermore, I will take Schoenberg’s twelve-tone music as an instance and wonder about the role of music and its history in the sociocultural formation (or, in Hegelian words, in the absolute Geist). I divide the exposition into four parts, namely: (1) the position of art before the  absolute Geist; (2) a general exposition of art in the Lectures on the Philosophy of Art, placing music as a singular form of art; (3) an analysis of the characteristics of music in Hegel and (4) the comparison with Schoenberg’s twelve-tone music. I conclude that music, as an artistic form, brings the form of an internal feeling of a social subjectivity – a way to feel and understand sounds that transforms itself through history; in turn, both music and the form of an internal feeling of social subjectivity, have a historicity that can be understood as developed dialectically. Along these lines, the beginning of the Twentieth Century in music reveals, through Schoenberg and other composers, new intuitive configurations of this social subjectivity.
publishDate 2019
dc.date.none.fl_str_mv 2019-10-15
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://revistaseletronicas.pucrs.br/veritas/article/view/33169
10.15448/1984-6746.2019.2.33169
url https://revistaseletronicas.pucrs.br/veritas/article/view/33169
identifier_str_mv 10.15448/1984-6746.2019.2.33169
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://revistaseletronicas.pucrs.br/veritas/article/view/33169/18741
dc.rights.driver.fl_str_mv Copyright (c) 2019 Veritas (Porto Alegre)
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2019 Veritas (Porto Alegre)
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Editora da PUCRS - ediPUCRS
publisher.none.fl_str_mv Editora da PUCRS - ediPUCRS
dc.source.none.fl_str_mv Veritas (Porto Alegre); Vol. 64 No. 2 (2019): Philosophy & Interdisciplinarity; e33169
Veritas (Porto Alegre); Vol. 64 Núm. 2 (2019): Filosofía & Interdisciplinariedad; e33169
Veritas (Porto Alegre); v. 64 n. 2 (2019): Filosofia & Interdisciplinaridade; e33169
1984-6746
0042-3955
10.15448/1984-6746.2019.2
reponame:Veritas (Porto Alegre. Online)
instname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
instacron:PUC_RS
instname_str Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
instacron_str PUC_RS
institution PUC_RS
reponame_str Veritas (Porto Alegre. Online)
collection Veritas (Porto Alegre. Online)
repository.name.fl_str_mv Veritas (Porto Alegre. Online) - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
repository.mail.fl_str_mv veritas@pucrs.br | luis.rosenfield@pucrs.br
_version_ 1853663782750912512
spelling The historicity of music in Hegel in face of Schoenberg’s twelve-tone musicLa historicidad de la música en Hegel frente la música dodecafónica de SchoenbergThe historicity of music in Hegel in face of Schoenberg’s twelve-tone musicHegelHistoricityMusicSchoenbergTwelve-tone music.Philosophy & InterdisciplinarityHistoricidadeHegelMúsicaSchoenbergDodecafonismo.HegelHistoricityMusicSchoenbergTwelve-tone music.In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation and Aufhebung of tonal system in music. Furthermore, I will take Schoenberg’s twelve-tone music as an instance and wonder about the role of music and its history in the sociocultural formation (or, in Hegelian words, in the absolute Geist). I divide the exposition into four parts, namely: (1) the position of art before the  absolute Geist; (2) a general exposition of art in the Lectures on the Philosophy of Art, placing music as a singular form of art; (3) an analysis of the characteristics of music in Hegel and (4) the comparison with Schoenberg’s twelve-tone music. I conclude that music, as an artistic form, brings the form of an internal feeling of a social subjectivity – a way to feel and understand sounds that transforms itself through history; in turn, both music and the form of an internal feeling of social subjectivity, have a historicity that can be understood as developed dialectically. Along these lines, the beginning of the Twentieth Century in music reveals, through Schoenberg and other composers, new intuitive configurations of this social subjectivity.En este artículo, la reflexión visa discutir como sería posible pensar la historicidad de la musica a través del pensamiento de Hegel. Se oponen a las ideas de Hegel con un acontecimiento histórico que se considera relevante en la historia de la música: la música dodecafónica de Schoenberg, se considera aquí como un modelo de negación  inmanente y de Aufhebung en el sistema tonal en la música. En este artículo, tomo la música dodecafónica de Schoenberg como un ejemplar y cuestiono sobre el papel de la música y su historicidad en la formación socio-cultural (o, en términos hegelianos, en el Geist absoluto). Divido la exposición en cuatro partes, a saber: (1) la posición del arte en el Geist absoluto; (2) la exposición general del arte de los Cursos de la Filosofía del Arte, colocando la música como forma de arte singular; (3) un análisis de las características de la música en Hegel y (4) la confrontación con el dodecafonismo de Schoenberg. Concluyo que la música, mientras sea forma artística, trae la forma de sentido interior de una subjetividad social, una manera de sentir y entender los sonido, que si se transforman a lo largo de la historia – y que tienen, tanto la música cuanto la forma interna de la subjetividad social, una historicidad que puede ser entendida dialécticamente. En este sentido, los principios del siglo XX en la música muestran, con Schoenberg y otros compositores, nuevas configuraciones intuitivas de esta subjetividad social.In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation and Aufhebung of tonal system in music. Furthermore, I will take Schoenberg’s twelve-tone music as an instance and wonder about the role of music and its history in the sociocultural formation (or, in Hegelian words, in the absolute Geist). I divide the exposition into four parts, namely: (1) the position of art before the absolute Geist; (2) a general exposition of art in the Lectures on the Philosophy of Art, placing music as a singular form of art; (3) an analysis of the characteristics of music in Hegel and (4) the comparison with Schoenberg’s twelve-tone music. I conclude that music, as an artistic form, brings the form of an internal feeling of a social subjectivity – a way to feel and understand sounds that transforms itself through history; in turn, both music and the form of an internal feeling of social subjectivity, have a historicity that can be understood as developed dialectically. Along these lines, the beginning of the Twentieth Century in music reveals, through Schoenberg and other composers, new intuitive configurations of this social subjectivity ***A historicidade da música em Hegel diante da música dodecafônica de Schoenberg***Neste artigo, considero como seria possível pensar a historicidade da música por meio do pensamento de Hegel. Confrontarei as ideias de Hegel com um evento histórico que é considerado relevante na história da música: a música dodecafônica de Schoenberg, considerada aqui modelo de negação imanente e de Aufhebung do sistema tonal em música. Neste artigo, tomo a música dodecafônica de Schoenberg como um exemplar e questiono sobre o papel da música e de sua historicidade na formação sociocultural (ou, em termos hegelianos, no Geist absoluto). Divido a exposição em quatro partes, a saber (1) a posição da arte diante do Geist absoluto; (2) a exposição geral da arte nos Cursos de Filosofia da Arte, situando a música enquanto forma de arte singular; (3) uma análise das características da música em Hegel e (4) a confrontação com a música dodecafônica de Schoenberg. Eu concluo que a música, enquanto forma artística, traz a forma do sentido interior de uma subjetividade social, um modo de sentir e de compreender sons que se transforma através da história – e que têm, tanto a música quanto a forma interna da subjetividade social, uma historicidade que pode ser compreendida dialeticamente. Neste sentido, o início do século XX na música revela, com Schoenberg e outros compositores, novas configurações intuitivas desta subjetividade social.Plavras-chaves: Historicidade, Hegel, Música, Schoenberg, Dodecafonismo.Editora da PUCRS - ediPUCRS2019-10-15info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistaseletronicas.pucrs.br/veritas/article/view/3316910.15448/1984-6746.2019.2.33169Veritas (Porto Alegre); Vol. 64 No. 2 (2019): Philosophy & Interdisciplinarity; e33169Veritas (Porto Alegre); Vol. 64 Núm. 2 (2019): Filosofía & Interdisciplinariedad; e33169Veritas (Porto Alegre); v. 64 n. 2 (2019): Filosofia & Interdisciplinaridade; e331691984-67460042-395510.15448/1984-6746.2019.2reponame:Veritas (Porto Alegre. Online)instname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)instacron:PUC_RSenghttps://revistaseletronicas.pucrs.br/veritas/article/view/33169/18741Copyright (c) 2019 Veritas (Porto Alegre)info:eu-repo/semantics/openAccessKurle, Adriano Bueno2023-01-17T19:11:12Zoai:ojs.revistaseletronicas.pucrs.br:article/33169Revistahttps://revistaseletronicas.pucrs.br/veritas/indexPRIhttps://revistaseletronicas.pucrs.br/veritas/oaiveritas@pucrs.br | luis.rosenfield@pucrs.brhttps://doi.org/10.15448/1984-67461984-67460042-3955opendoar:2023-01-17T19:11:12Veritas (Porto Alegre. Online) - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)false
score 15.223283

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