Estética de la música (La balsa de la Medusa nº 116)

Cada una de las grandes revoluciones lingüísticas y estilísticas en l. a. historia de l. a. música ha llevado los angeles atención de los teóricos y de los músicos, mayoritariamente, a reflexionar sobre los aspectos propiamente técnicos y lingüísticos correspondientes a cada arte, llegando solo de modo indirecto a afrontar las cuestiones filosóficas y estéticas, y siempre, en cualquier caso, con una actitud vinculada a las nuevas experiencias artísticas. Esto es algo que podemos constatar en el paso del ars antiqua al ars nova, en el paso de los angeles polifonía a l. a. monodia, y también hoy en día en los angeles invención de l. a. dodecafonía y en las radicalmente nuevas experiencias lingüísticas conectadas a las más recientes vanguardias.

Estética de l. a. música aborda de forma sencilla dos cuestiones: los principales problemas estéticos de los angeles música, con los que se entra en contacto en los angeles primera parte, y una breve historia de l. a. reflexión estética sobre los angeles música. Fubini adopta un punto de vista interdisciplinar, que plantea en el centro mismo de su
pensamiento el problema de qué sea, estrictamente hablando, una estética de los angeles música. Este punto de vista configura el marco de un estudio histórico, expuesto de forma breve y concisa.

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PIGUET, Jean-Claude, Découverte de l. a. musique, Neuchâtel, los angeles Baconnière, 1948. SCHLOEZER, Boris de, advent à J. S. Bach. Essai d’esthétique musical, París, Gallimard, 1947. SEGOND, Joseph, L’esthétique du sentiment, París, Boivin, 1927. SERVIEN, Pius, creation à une connaissance scientifique des faits musicaux, París, Blanchard, 1929. STRAVINSKY, Igor F. , Poétique musicale, París, Janin, 1945. Bibliografía anglosajona: CAGE, John, Solence, Middletown (Conn. ), Wesleyan college Press, 1961. COOKE, Deryck, The Language of track, Londres, Oxford collage Press, 1959. COPLAND, Aaron, track and mind's eye, Cambridge (mass. ), Harvard collage Press, 1952. LANGER, Suzanne, Philosophy in a brand new Key, Nueva York, Mentor Books, 1942. MEYER, Leonard, Emotion and which means in song, Chicago, collage of Chicago Press, 1956. PRATT, Carrol, The that means of tune, Nueva York, McGraw Hill, 1931. RETI, Rudolf, Tonality, Atonality, Pantonality, Londres, Rockliff, 1958. beach, Carl, The Psychology of Musical expertise, Chicago, Silver, 1919. WATT, Henry, the basis of song, Cambridge, Cambridge college Press, 1917. Bibliografía en alemán: ADORNO, Theodor Wiesegrund, Philosophie der neuen Musik, Tübingen, Mohr, 1949. BAHLE, Julius, Die musikalische Schaffensprozess, Leipzig, Hirzel, 1936. BLAUKOPF, Kurt, Musiksoziologie, S. Gallen, Zollikofer, 1950. BUSONI, Ferruccio, Entwurf einer neuen Ästhetik der Tokunst, Trieste, Schmidl, 1907. DE l. a. MOTTE-HABER, Helga, Musikpsychologie, Colonia, Gerig, 1975. KURT, Ernst, Musikpsychologie, Berlín, Hesse, 1931. LISSA, Zofia, Fragen der Musikästhetik, Berlín, Heischelverlag, 1954. MERSMANN, Hans, Angewandte Musikästhetik, Berlín, Hesse, 1926. SCHENKER, Heinrich, Neue musikalischen Theorien und Phantasien, Viena, common version, 1906. SCHÖNBERG, Arnold, Harmonielehre, Viena, common variation, 1910. Bibliografía italiana: BASTIANELLI, Giannotto, L’opera ed altri saggi di teoria musicale, Florencia, Vallecchi, 1921. BARTOLOTTO, Mario, Fase seconda, Turín, Einaudi, 1969. DE NATALE, Marco, Strutture e forma nella musica come processi simbolici, Nápoles, Morano, 1978. PANNAIN, Guido, l. a. vita del linguaggio musicale, Milán, Curci, 1947. ROGNONI, Luigi, Espressionismo e dodecafonia, Turín, Einaudi, 1954. TORREFRANCA, Fausto, los angeles vita musicale dello spirito, Milán, Bocca, 1910. VLAD, Roman, Modernità e tradizione nella musica contemporanea, Turín, Einaudi, 1955.

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