상세정보

Somewhere between raw physical sound and abstract graphic analyses of the form of a work of music is a "primordial musical experience." What is it, how do we get to it, how should we teach for it, and with what consequences? These are the questions that have intrigued Smith for several years, and this book is the first of a planned two-part publication on the phenomenology of music, designed to overhaul our traditional ways of thinking about and teaching music. Working from the premises that current musicological practices, with all their associated appurtenances - formal analyses, intellectual and cognitive grids, essays, facts, and dates - actually detract from the musical experience and that even novice listeners are closer to the true musical experience than analysts, Smith sets out to identify the factors that account for this musicological going awry and that will help develop a philosophical system to lead us to a new understanding of the essence of music. In essence, the author concludes that the trouble with musicology is that it stems from a system of false dualism generated by post-Aristotelian Christian metaphysics and that the best way out of our current difficulties is offered by a music pedagogy rooted in nineteenth- and twentieth-century European phenomenology. Turning to an analysis of phenomenology and its original intent of meeting the crisis of both philosophy and science, Smith identifies a conceptual framework in the writings of Husserl, Heidegger, Sartre, Merleau-Ponty, and Scheler that might serve the dual role of replacing traditional musicological thought and practice with "akumenology"-the phenomenology of sound - and of extending the range of phenomenological analysis beyond visual, sight, and insight phenomena to audile phenomena as well. In other words, his theory is an attempt to show how phenomenology can "help" musicology and how a newly transformed musicology can "help" phenomenology. The basic tool in this theory - eidetic ...

정보제공 :

Introduction 
1 Prelude to a Phenomenology of Music 
2 A Critique of Visual Metaphor in Philosophy and Music 
3 Working Propositions in Sound: a Baroque Suite 
4 Musical Sound, a Model for Husserlian Time-Consciousness
5 Cartesian Theory and Musical Science
6 Musicology in Need of New Horizons 
7 A Phenomenology of Musical Esthetics: The Continuing Redefinition 
8 Esthetic Re-education: the Experiencing of Musical Sound
9 Implications of Phenomenology for Music Education 
10 Phenomenological Theme with Dialectical Variation 
Postscript: The “End” of Philosophy: the Muser and Music-Maker 
Acknowledgments 

정보제공 :