Dissertação de Mestrado by Glaucio Adriano Zangheri
Pierre Schaeffer’s (1910-1995) Traité des Objets Musicaux is a work which aims at a radical revis... more Pierre Schaeffer’s (1910-1995) Traité des Objets Musicaux is a work which aims at a radical revision of the theoretical foundations of music. In this sense, it can be considered as one of the most important treatises ever written. Among the many topics covered in his Traité, Schaeffer investigates the sound as it is heard, i. e. the sound as a phenomenon. In the first chapter I provide a brief historical background, trying to expose some of the reasons for Schaeffer’s choice of this specific approach towards the sound. Faced with a crisis of both production and theoretical knowledge of music, many aesthetic trends adopted as fundament the model of hard sciences and acoustical physics. The result was what Schaeffer called "a priori music". This approach is rejected by him on the basis that our perception of sound cannot be reduced to measurements that merely describe the acoustic signal. As an alternative, Schaeffer proposes to carry out a fundamental music research which conceives music as an interdiscipline and, above all, approaches the sound as a phenomenon (i.e. as a sound object). In the second chapter, I point out Schaeffer’s phenomenological affiliation through analysis of his theoretical sources, i. e. Merleau-Ponty and Husserl. In this very chapter, I provide evidence for the fact that Schaeffer conceives the idea of sound object as an intentional object. The third chapter is devoted to the discussion of the origins of the concept of sound object, beginning with "acousmatic" and then analyzing how a series of phenomenological concepts (e.g. transcendence, epoché and reduction) is applied by Schaeffer in his Traité. The fourth chapter describes Schaeffer’s “Theory of Listening” and discusses in what sense it can be understood as an intentional analysis of listening. In the fifth and final chapter, I present the two main results of the intentional analysis of listening: firstly, the correlation between the listening of a physicist and that of a musician; secondly, the recognition that the sound object represents a synthesis of a structural dualism. In conclusion, I briefly summarize the consequences of schaefferian phenomenology for the program of musical research proposed by Schaeffer in the final books of his Traité.
Keywords: Pierre Schaeffer (1910-1995); Phenomenology; Listening; Music Theory.
Papers by Glaucio Adriano Zangheri
A música e seus encontros. Da paisagem sonora à análise musical., 2023
A partir da crítica que o fenomenólogo polonês Roman Ingarden (1893-1970) faz ao texto “Do belo m... more A partir da crítica que o fenomenólogo polonês Roman Ingarden (1893-1970) faz ao texto “Do belo musical” do crítico musical austríaco Eduard Hanslick (1825-1904), o presente capítulo tem como principal objetivo explicitar o papel que as chamadas “qualidades emocionais” (na expressão de Ingarden) exercem na constituição da estrutura de uma obra musical. Apresenta-se, portanto, uma pesquisa eminentemente bibliográfica na qual, em primeiro lugar, discutimos brevemente as concepções de Hanslick acerca dos sentimentos na música para, logo em seguida, analisarmos a abordagem crítica que Ingarden faz do texto de Hanslick. Por meio dessa análise, expomos o papel positivo das qualidades emocionais no âmbito da ontologia e da teoria musical proposta por Ingarden, e ao mesmo tempo, destacamos o papel estrutural delas na constituição de uma obra musical. O resultado, diferentemente de muitas abordagens “formalistas” e “estruturalistas” ainda em voga, é uma teoria que não só admite que as qualidades emocionais fazem parte da própria obra, enquanto elementos não-sonoros pertencentes a ela, mas que também as reconhece enquanto valor estético e, em certos casos, como constituidoras da unidade e/ou totalidade de uma obra musical. Com base nesses resultados, extraímos uma série de consequências, contribuições e limitações tanto para a apreciação quanto para a teoria e análise musicais – o que nos permite concluir que as qualidades emocionais não são meras projeções que fazemos sobre as obras musicais, como em princípio Hanslick pensara, mas sim que elas constituem um elemento adrede elaborado pelo(s)/pela(s) compositor(es)/compositora(s) e, por isso mesmo, um aspecto estrutural da obra.
ArteFilosofia: Revista de Estética e Filosofia da Arte do Programa de Pós-graduação em Filosofia – UFOP, 2022
Resumo: O texto tem como objetivo principal explicar o conceito de formação sonora em Roman Ingar... more Resumo: O texto tem como objetivo principal explicar o conceito de formação sonora em Roman Ingarden destacando o seu status enquanto objeto puramente intencional e o seu caráter gestáltico. Como objetivos secundários, expõe-se a gênese do conceito de formação sonora em A obra de arte literária e os seus desdobramentos a partir das críticas que Ingarden faz ao atomismo a aos teóricos da Gestalt. O texto está dividido em duas partes: na primeira, expõe-se um movimento que parte das formações fônico-linguísticas da obra literária e chega nas primeiras definições de formação sonora no contexto da obra musical; na segunda, explicitam-se o status ontológico puramente intencional das formações sonoras, as críticas ao atomismo e à Gestalt e as respostas que Ingarden oferece para solucionar o problema da totalidade das formações sonoras. O resultado é uma concepção de formação sonora composta por três características: (1) qualidade harmoniosa, (2) forma pura, (3) sentido. Nas considerações finais são feitos comentários e reflexões acerca do percurso do texto.
Palavras-chave: Roman Ingarden (1893-1970). Formação Sonora. Estética Fenomenológica. Obra Musical.
On the tone formations of the musical work in Roman Ingarden
Abstract: The main aim of this paper is to explain the concept of tone formation in Roman Ingarden, highlighting its status as a purely intentional object and its gestalt character. As secondary aims, the genesis of the concept of tone formation in The Literary Work of Art is exposed and its consequences based on Ingarden's criticisms of Atomism and Gestalt theorists. The paper is divided into two sections: in the first one it is exposed a movement that starts from the sound-word formations of the literary work and arrives at the first definitions of tone formation in the context of the musical work; in the second one it is explained the purely intentional ontological status of tone formations, criticisms of Atomism and Gestalt, and the answers that Ingarden offers to solve the problem of the totality of tone formations. The result is a conception of tone formation composed of three characteristics: (1) harmonious quality, (2) pure form, (3) sense. In the final considerations, some comments and reflections are made about the course of the text.
Keywords: Roman Ingarden (1893-1970). Tone Formation. Phenomenological Aesthetics. Musical Work.
In his Logical Investigations Husserl develops a theory about wholes and parts and uses a musical... more In his Logical Investigations Husserl develops a theory about wholes and parts and uses a musical example to explain the proximity relationship between parts and wholes. The example of Husserl leads us to a chapter of Schaeffer's Traité in which the relationship between wholes and parts is treated from a structuralist perspective and in terms of objects and structures. It discuss the Schaeffer's structuralist option and concludes showing that phenomenology and structuralism complement each other in his thinking.
Tese de doutorado by Glaucio Adriano Zangheri
From the observation that a phenomenology of music is not restricted only to its sound moments, I... more From the observation that a phenomenology of music is not restricted only to its sound moments, I proposed a phenomenological investigation of the musical work that also takes into consideration its non-sound moments. In order to carry out this research, I proposed an analysis of how the issue of sound and non-sound moments is approached by the Polish philosopher Roman Ingarden (1893-1970) in his Essay on the mode of being of the musical work. The first part of this dissertation (which comprises chapters one to three) makes a few preliminary considerations; beginning with the elucidation of certain general elements of phenomenology and then seeking to understand how phenomenology could contribute to musical investigations and aesthetics investigations. In the second part (which is composed of chapters four through six) the first five sections of Ingarden’s Essay are analyzed. The proposed analysis emphasizes the distinction of the musical work in relation to the performance, the experience of the conscience and the score. After describing these elementary distinctions, the problem of how a work situates itself in time is analyzed (arriving at the conclusion that it is a non-real object). Finally, the sound and non-sound moments of the musical work are described and analyzed. In the concluding remarks, it appears that Ingarden’s Essay covered only the first stage of an itinerary, which should also consider issues related to cognition and value theory.
Keywords: Roman Ingarden (1893-1970). Phenomenology. Musical Aesthetics. Musical Work.
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Dissertação de Mestrado by Glaucio Adriano Zangheri
Keywords: Pierre Schaeffer (1910-1995); Phenomenology; Listening; Music Theory.
Papers by Glaucio Adriano Zangheri
Palavras-chave: Roman Ingarden (1893-1970). Formação Sonora. Estética Fenomenológica. Obra Musical.
On the tone formations of the musical work in Roman Ingarden
Abstract: The main aim of this paper is to explain the concept of tone formation in Roman Ingarden, highlighting its status as a purely intentional object and its gestalt character. As secondary aims, the genesis of the concept of tone formation in The Literary Work of Art is exposed and its consequences based on Ingarden's criticisms of Atomism and Gestalt theorists. The paper is divided into two sections: in the first one it is exposed a movement that starts from the sound-word formations of the literary work and arrives at the first definitions of tone formation in the context of the musical work; in the second one it is explained the purely intentional ontological status of tone formations, criticisms of Atomism and Gestalt, and the answers that Ingarden offers to solve the problem of the totality of tone formations. The result is a conception of tone formation composed of three characteristics: (1) harmonious quality, (2) pure form, (3) sense. In the final considerations, some comments and reflections are made about the course of the text.
Keywords: Roman Ingarden (1893-1970). Tone Formation. Phenomenological Aesthetics. Musical Work.
Tese de doutorado by Glaucio Adriano Zangheri
Keywords: Roman Ingarden (1893-1970). Phenomenology. Musical Aesthetics. Musical Work.
Keywords: Pierre Schaeffer (1910-1995); Phenomenology; Listening; Music Theory.
Palavras-chave: Roman Ingarden (1893-1970). Formação Sonora. Estética Fenomenológica. Obra Musical.
On the tone formations of the musical work in Roman Ingarden
Abstract: The main aim of this paper is to explain the concept of tone formation in Roman Ingarden, highlighting its status as a purely intentional object and its gestalt character. As secondary aims, the genesis of the concept of tone formation in The Literary Work of Art is exposed and its consequences based on Ingarden's criticisms of Atomism and Gestalt theorists. The paper is divided into two sections: in the first one it is exposed a movement that starts from the sound-word formations of the literary work and arrives at the first definitions of tone formation in the context of the musical work; in the second one it is explained the purely intentional ontological status of tone formations, criticisms of Atomism and Gestalt, and the answers that Ingarden offers to solve the problem of the totality of tone formations. The result is a conception of tone formation composed of three characteristics: (1) harmonious quality, (2) pure form, (3) sense. In the final considerations, some comments and reflections are made about the course of the text.
Keywords: Roman Ingarden (1893-1970). Tone Formation. Phenomenological Aesthetics. Musical Work.
Keywords: Roman Ingarden (1893-1970). Phenomenology. Musical Aesthetics. Musical Work.