{"title":"质疑康德音乐方法的形式主义方面——对穆索尔斯基的应用,与汉斯利克的比较以及对萨曼莎·马瑟恩的回应","authors":"Tiago Sousa","doi":"10.5209/kant.88697","DOIUrl":null,"url":null,"abstract":"In this article I explore the formalist facet of Kant's theory of music and how this facet can be reconciled with sensory gratification and emotional expression. I argue that 1) Kant does not give us an adequate notion of musical form, 2) the status that Kant gives to sensations in music is not plausible, and 3) the presence of an emotionally expressive component introduces inconsistencies within Kant’s text. Remarks about the status that Kant assigns to sensations in music are illustrated by analyzing a work by Mussorgsky later orchestrated by Ravel. Kant's formalist facet is problematized through a comparison with Eduard Hanslick's musical formalism. I conclude by examining Samantha Matherne's (2014) proposal to reconcile the aforementioned dimensions. I argue that Matherne's \"expressive formalism\" does not resolve all the inconsistencies and implausibilities it tries to resolve","PeriodicalId":41959,"journal":{"name":"Con-textos Kantianos-International Journal of Philosophy","volume":"85 1","pages":""},"PeriodicalIF":0.5000,"publicationDate":"2023-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Questioning the formalist facet of Kant's approach to music - an application to Mussorgsky, a comparison with Hanslick and a response to Samantha Matherne\",\"authors\":\"Tiago Sousa\",\"doi\":\"10.5209/kant.88697\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In this article I explore the formalist facet of Kant's theory of music and how this facet can be reconciled with sensory gratification and emotional expression. I argue that 1) Kant does not give us an adequate notion of musical form, 2) the status that Kant gives to sensations in music is not plausible, and 3) the presence of an emotionally expressive component introduces inconsistencies within Kant’s text. Remarks about the status that Kant assigns to sensations in music are illustrated by analyzing a work by Mussorgsky later orchestrated by Ravel. Kant's formalist facet is problematized through a comparison with Eduard Hanslick's musical formalism. I conclude by examining Samantha Matherne's (2014) proposal to reconcile the aforementioned dimensions. I argue that Matherne's \\\"expressive formalism\\\" does not resolve all the inconsistencies and implausibilities it tries to resolve\",\"PeriodicalId\":41959,\"journal\":{\"name\":\"Con-textos Kantianos-International Journal of Philosophy\",\"volume\":\"85 1\",\"pages\":\"\"},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2023-07-06\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Con-textos Kantianos-International Journal of Philosophy\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5209/kant.88697\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"PHILOSOPHY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Con-textos Kantianos-International Journal of Philosophy","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5209/kant.88697","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"PHILOSOPHY","Score":null,"Total":0}
Questioning the formalist facet of Kant's approach to music - an application to Mussorgsky, a comparison with Hanslick and a response to Samantha Matherne
In this article I explore the formalist facet of Kant's theory of music and how this facet can be reconciled with sensory gratification and emotional expression. I argue that 1) Kant does not give us an adequate notion of musical form, 2) the status that Kant gives to sensations in music is not plausible, and 3) the presence of an emotionally expressive component introduces inconsistencies within Kant’s text. Remarks about the status that Kant assigns to sensations in music are illustrated by analyzing a work by Mussorgsky later orchestrated by Ravel. Kant's formalist facet is problematized through a comparison with Eduard Hanslick's musical formalism. I conclude by examining Samantha Matherne's (2014) proposal to reconcile the aforementioned dimensions. I argue that Matherne's "expressive formalism" does not resolve all the inconsistencies and implausibilities it tries to resolve
期刊介绍:
Con-Textos Kantianos aims at boosting the philological and critical research on Kant studies, considering also actual discussions on Kant''s thought. That is the reason why its heading hints to contexts with texts. Kant shall be the main focus of the journal, which will tackle subjects such as Moral and Political Philosophy, History of Ideas, Philosophy of Right, Philosophy of History, Philosophy of Religion, Philosophy of Education, Aesthetics, Anthropology, Metaphysics and Epistemology, Human Rights, Social Policy, Theories of Justice and Cosmopolitanism. CTK aims at being an international and cosmopolitan inspired e-journal, where the Spanish language receives equal acknowledgement as English, French, German, Italian and Portuguese do. The main purposes of the journal are to enhance the development of a Kant scholarship network at the Latin American scale and to tighten the links between research groups already consolidated in different countries and languages. The editorial team, which gathers Kant scholars from Argentina, Colombia, Chile, Mexico and Spain, will certainly ease the fulfillment of both purposes.