Papers by Ricardo Nachmanowicz
The present work addresses the aesthetic philosophy of Eduard Hanslick in order to demarcate it a... more The present work addresses the aesthetic philosophy of Eduard Hanslick in order to demarcate it as an
epistemological approach to music and a paradigmatic case for musical autonomy. The epistemological assumptions
that guided the work On the Musically Beautiful and its most likely influences were analyzed. We conclude by presenting musical idea as an epistemological formulation strongly influenced by positivism and as a qualifying principle of autonomous musical perception. We add to this conclusion a disambiguation with Kant›s concept of aesthetic idea.
Kriterion , 2024
The article analyzes the subject of musical listening of time in Vladimir Jankélévitch philosophy... more The article analyzes the subject of musical listening of time in Vladimir Jankélévitch philosophy, seeking to assess what is the phenomenal proof alleged by Jankélévitch to support the thesis that musical listening of time carries the same properties as Henri Bergson’s concept of durée. We conclude that (1) Jankélévitch’s temporal descriptions are not sufficient to sustain that listening to music is equivalent to listening to the properties of durée, and that (2) this fact implies a problem both for the maxim “music is the art of time” and for the general capacity of Bergsonism, verified in other authors, to founding a philosophy of music.
Viso: Cadernos de estética aplicada, 2021
This paper aim an exegesis and classification of musical ontology present in the book La
musiqu... more This paper aim an exegesis and classification of musical ontology present in the book La
musique et l’ineffable by Vladimir Jankélévitch. For this purpose, the conceptual pair of Melos and Logos is examined, considering them as the fundamental axis of argumentation present in that work. We conclude that Jankélévitch's musical ontology is of an anti-realism type.
The article at hand discusses a methodological question in aesthetics and art philosophy which ap... more The article at hand discusses a methodological question in aesthetics and art philosophy which applies to the analysis of concepts that cross through diferent historical contexts. The selected theme was a dispute for a historic aliance of the concept of the sublime along with the production and interpretation of contemporary art. Using as reference the sociology of Pierre Bourdieu and the historiography of Carlo Ginzburg and Reinhart Koselleck , the two first occurrences of this type of aliances are analyzed: (1st) an essay by Barnett B. Newman and (2nd) an article by Jean-François Lyotard. The result of these analyzes showed sensitive diferences between the two authors. Newman has a contruction that is creative and independent of methodological ambitions without the intent of reaching a truth, yielding an aesthetic which is particular to his artistic output. Lyotard provides us with a heterogeneous method in search of building true knowledge about art and human creativity, with the help of associative judgements, anisthoric postulates as well as the universalization of concepts.
Os filósofos e seus repertórios: Série diálogos com o som, 2018
In this paper I seek to identify the musical “repertoire” inherent to Kant's theoretical construc... more In this paper I seek to identify the musical “repertoire” inherent to Kant's theoretical construction, avoiding any meta-explanation and avoiding inferring this repertoire of any biographical character of Kant. The argument is divided between sections I and II. The first section analyzes aspects of Kant's aesthetics that refer to the Baroque period [Affektenlehre]. The second section analyzes aspects of Kantian aesthetics that refer to the attitude and conception of classical music and the musical autonomy.
A phenomenological speculation on the concept of musical content, applied to historical authors o... more A phenomenological speculation on the concept of musical content, applied to historical authors of the philosophy of music.
Kantian's main comments about music are situated between paragraphs §51 and §53 of what would be ... more Kantian's main comments about music are situated between paragraphs §51 and §53 of what would be an addition of Deduction of Pure Aesthetic Judgments. These comments are inserted in a broader discussion on the division of fine arts and the individual characterization of some arts. Regarding the characterization of the musical art it is remarkable how Kant travels through phenomenological observations and theoretical elaborations, and we seek to understand and criticize his comments based on these phenomenological and theoretical elements that Kant brings into play.
O artigo consiste em um trabalho especulativo em estética musical com um comprometimento particul... more O artigo consiste em um trabalho especulativo em estética musical com um comprometimento particularista, ou seja, não está interessado em sistemas estéticos produzidos pela filosofia. Aqui, fazer filosofia da música ou estética musical significa elucidar, expor e mesmo buscar soluções que expressem verbalmente o que seja o teor, o significado ou uma questão presente em uma obra específica. No presente caso, expomos e buscamos elucidar e apontar verbalmente para elementos presentes na obra Lumpy Gravy de Frank Zappa.
This work is dedicated to establishing the beddings for a Phenomenological procedure of musical a... more This work is dedicated to establishing the beddings for a Phenomenological procedure of musical analysis in accordance with Edmund Husserl's Phenomenology, especially its philosophy expressed in the Logical Investigations and the "On the Phenomenology of the Consciousness of Internal Time," not abdicating the processes of Phenomenological reduction, as of its too much workmanships. In the intention to search the beddings of one future Phenomenological musical analysis based on purely intentional processes, this work concludes with the establishment of three distinct intentional moments: 1-The musical intention. 2-The musical experience. 3-The musical meaning. All these concepts nominate intentional acts that are most elementary, each sending, for analytical reasons, to a distinct field of action, without excluding the proximity between the three, but making possible dedicated studies to one or another aspect. In a second degree there is the discussion about the importance of a rigorously phenomelogical basis, using as reference the Prolegomena to Pure Logic and Philosophy as Rigorous Science, both written by E.Husserl, as well an introduction to the philosophic subject of phenomenology.
The article seeks to confront a subtle difference in approach between phenomenology and phenomena... more The article seeks to confront a subtle difference in approach between phenomenology and phenomenalism under the respective figures of Ernst Mach and Edmund Husserl. The center of this discussion takes place under the theme of perception, more specifically on the degree of presence or absence of performance of logic functions in the perceptual experience. We conclude that such subtlety hides great epistemological differences with regard to the concepts of cognitive functions but above all the degree of importance given to the descriptions of the experiences in each proposal.
Drafts by Ricardo Nachmanowicz
Considerações sobre o tempo, a música e a noite no livro: Ressonâncias Noturnas: do indizível ao ... more Considerações sobre o tempo, a música e a noite no livro: Ressonâncias Noturnas: do indizível ao inefável Autor: Clovis Salgado Gontijo Edições Loyola 2018 Ricardo M. Nachmanowicz 'Ressonâncias Noturnas' retrata na forma de um panorama a contínua relação persistente na cultura Ocidental que atrela o simbólico ao sensível nas produções da cultura e em especial na produção artística.
O artigo "Sobre Música Popular" de T. W. Adorno, publicado no ano de 1941, retratado por pontos d... more O artigo "Sobre Música Popular" de T. W. Adorno, publicado no ano de 1941, retratado por pontos de vista não incluídos pelo autor. Fragmentos do material que preparei para o Encontro de Pós-Graduação em Filosofia da UFMG 2016.
Thesis Chapters by Ricardo Nachmanowicz
This dissertation consists of an epistemological investigation into the 18th-century classical to... more This dissertation consists of an epistemological investigation into the 18th-century classical tonal instrumental music, centered on the aural perception of tonal music structured by thematic-motivic composition strategies.
The dissertation concludes by indicating that there is some contiguity between the principles of Kant's Critique of Pure Reason and the compositional strategies of classical music, but no relation with Kant's Critique of Judgment.
A tese se dedica a examinar e buscar a causa de uma certa sequência de fatos cognitivos que se li... more A tese se dedica a examinar e buscar a causa de uma certa sequência de fatos cognitivos que se ligam exclusivamente à intuição sensível [percepção sensível]. Os fatos podem ser formalmente ilustrados da seguinte maneira: (a) a situação onde um objeto é plenamente compreendido; (b) a situação onde um objeto não é compreendido nem reconhecido; (c) a situação onde o mesmo objeto (b) passa a ser compreendido e reconhecido.
Artigos by Ricardo Nachmanowicz
É com satisfação e espírito renovado que apresentamos ao público o 28 o número da revista ArteFil... more É com satisfação e espírito renovado que apresentamos ao público o 28 o número da revista ArteFilosofia, dedicado ao dossiê "Estética Africana", organizado por Rízzia Rocha e Luís Thiago Dantas, que assinam juntos um texto detalhado sobre o dossiê. Agradeço a ambos pela contribuição para a revista.
Books by Ricardo Nachmanowicz
Textos selecionados de estética, 2021
A Estética é o ramo da filosofia que estuda, prioritariamente, as sensações e os sentimentos, e, ... more A Estética é o ramo da filosofia que estuda, prioritariamente, as sensações e os sentimentos, e, por decorrência disso, os objetos, quando estão relacionados com as sensações e com os sentimentos. Dada a variedade de possíveis definições e teorias para o problema da ligação entre objetos, sensações e sentimentos, é possível falar, também, em uma variedade de filosofias estéticas.
Lógica e Música: Conceitualidade musical a partir da filosofia de Kant e Hanslick, 2014
The dissertation concludes that the Kantian logical-transcendental foundation, reserved for knowl... more The dissertation concludes that the Kantian logical-transcendental foundation, reserved for knowledge as described in the Critique of Pure Reason, is more suitable for the analysis of techniques and artifices of classical instrumental musical production. Not having the same parallel in the aesthetic foundation for the judgment of taste present in the Critique of the Faculty of Judgment.
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Papers by Ricardo Nachmanowicz
epistemological approach to music and a paradigmatic case for musical autonomy. The epistemological assumptions
that guided the work On the Musically Beautiful and its most likely influences were analyzed. We conclude by presenting musical idea as an epistemological formulation strongly influenced by positivism and as a qualifying principle of autonomous musical perception. We add to this conclusion a disambiguation with Kant›s concept of aesthetic idea.
musique et l’ineffable by Vladimir Jankélévitch. For this purpose, the conceptual pair of Melos and Logos is examined, considering them as the fundamental axis of argumentation present in that work. We conclude that Jankélévitch's musical ontology is of an anti-realism type.
Drafts by Ricardo Nachmanowicz
Thesis Chapters by Ricardo Nachmanowicz
The dissertation concludes by indicating that there is some contiguity between the principles of Kant's Critique of Pure Reason and the compositional strategies of classical music, but no relation with Kant's Critique of Judgment.
Artigos by Ricardo Nachmanowicz
Books by Ricardo Nachmanowicz
epistemological approach to music and a paradigmatic case for musical autonomy. The epistemological assumptions
that guided the work On the Musically Beautiful and its most likely influences were analyzed. We conclude by presenting musical idea as an epistemological formulation strongly influenced by positivism and as a qualifying principle of autonomous musical perception. We add to this conclusion a disambiguation with Kant›s concept of aesthetic idea.
musique et l’ineffable by Vladimir Jankélévitch. For this purpose, the conceptual pair of Melos and Logos is examined, considering them as the fundamental axis of argumentation present in that work. We conclude that Jankélévitch's musical ontology is of an anti-realism type.
The dissertation concludes by indicating that there is some contiguity between the principles of Kant's Critique of Pure Reason and the compositional strategies of classical music, but no relation with Kant's Critique of Judgment.