MUSIC, PHILOSOPHY, AND MODERNITY
4 4 Hegel, philosophy and music Music and the limits of inferentialism Hegel is often interpreted as embodying the idea that phi ...
106 music, philosophy, and modernity immediacy to full conceptual determinacy, ( 2 )inestablishing how this account can be under ...
hegel, philosophy, and music 107 rules come to be understood and applied at all (see Bowie 1997 : ch. 1 ). Our practices of just ...
108 music, philosophy, and modernity them as standing to one another in relations of material incompati- bility’ (Brandom 2002 : ...
hegel, philosophy, and music 109 individuated by their relata, and the relata by the relations they stand in. But relations betw ...
110 music, philosophy, and modernity immanent to Bruckner’s work and needs to include, for example, the historical situation of ...
hegel, philosophy, and music 111 Schn ̈adelbach says has to ‘show itself and be experienced’. This is not immediacy in the stric ...
112 music, philosophy, and modernity looks at transcriptions of jazz solos, norms of harmony are, of course, regularly transgres ...
hegel, philosophy, and music 113 inadequacy, but if the statement of the suspicion just adverts to forms of articulation which s ...
114 music, philosophy, and modernity and he cites Davidson as distinguishing between ‘what one copes with by interpreting it and ...
hegel, philosophy, and music 115 Music itself cannot be construed as making claims in the sense Bran- dom intends, but it just a ...
116 music, philosophy, and modernity comprehensible’ (Kant 1968 b:b 193,a 190). Freedom from determi- nation is what counts in t ...
hegel, philosophy, and music 117 Adorno says of the musicality present in poetic usage: ‘Musical is the transformation of langua ...
118 music, philosophy, and modernity Schleiermacher in 1809 – 10 : ‘language as a totality of tones is a musical system. The mus ...
hegel, philosophy, and music 119 Spinozist/Hegelian structure which is also the basis of Saussurean lin- guistics. To move from ...
120 music, philosophy, and modernity noises inferentially become signs. However, it is at this level that what Habermas terms Br ...
hegel, philosophy, and music 121 this proximity in his suggestion that ‘Music aims at an intentionless language’ (Adorno 1997 : ...
122 music, philosophy, and modernity and expression, of the kind, for example, that Adorno characterises in terms of ‘mimesis’. ...
hegel, philosophy, and music 123 in the right context without their being conveyed in terms of discur- sive entitlements and com ...
124 music, philosophy, and modernity suggests, there may well be contexts which are philosophically illumi- nating that a concer ...
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