Csob Pter Gyrgy

(3 találat)
# Cím Abstract Folyóirat Oldalszám
Autonmia s kimondhatatlansg abs.
Philosophers of music often say musicologists don't understand in fact very exactly what they describe, whereas musicologists time and again assert that philosophers aren't competent in music interpretation. The paper discusses the relationships between musical meaning and the traditional concept of musical autonomy to attempt to illuminate the background and the causes of this old debate. The reasoning around this problem goes back to the 19th century. To explain how musical text can have meaning, and what kind of meaning music in general can have, in the 19th century traditional music interpretation invoked the concept of ineffability. This concept was based on the specific relation of music and language, and grounded in the concept of absolute music's non-conceptual character, and accordingly of the autonomy of music. So there arose a tension between 'form' and 'expression', between the immanent formalist relations of musical structure and the dynamic expressivity of music with reference to an object external to it. However, every traditional variant of ineffability - the concept of music as a supplement of language and that of a specific musical language" are analysed here - had to presuppose a primary musical experience and at the same time proclaim it inaccessible. The assumption of an absolute difference between music and non-music (objects, meanings, ideas, discourse, etc.) was - by every indication - a logical failure" of music interpretation. So it seems to be a more acceptable concept of the possibility of musical meaning, if we abandon the respectable principle of pure musical", and look for possibilities of music interpretation in the interaction of the disparate sensual modality, mediums and forms of communication.
2010., 48. évf. 3. szám 277. - 293.o
Zene s szemllet abs.
Music and Intuition
Pter Gyrgy Csob

The paper discusses an essential problem of musical reception: what are the cognitive and perceptual conditions of musical interpretation. The reflection of this problem in the history of musical aesthetics was linked with the adaptation of the intuition concept, and with the epistemological rethinking of a perceptional hierarchy. The problem moved in the 19th century from the antinomian concept to dialectical immediacy: the disagreement of the plastically - musically, beauty - sublime, and interpretation as survey or as feeling overshadowed the dynamic concept of acoustical intuition (E. Hanslick) and the intentional concept of acoustical intuition (H. Riemann). As a result of this, transfiguration indicates intuition as cognitio sensitive acusticae, a special forma of musical reception and the object of this reception forma coexists before and after music.
2008., 46. évf. 4. szám 441. - 450.o
Rec. A humanizmus utpija : Zoltai Dnes: Zenben gondolkodni : vlogatott eszttikai rsok - 2008., 46. évf. 3. szám 331. - 341.o