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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...
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...
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...
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...
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'...
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