The Concept Musical Idea (musikalischer Gedanke) in Schoenberg: An Attempt for Interpretative Reading Cover Image
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Понятието музикална идея (musikalischer Gedanke) у Шьонберг: опит за интерпретативен прочит
The Concept Musical Idea (musikalischer Gedanke) in Schoenberg: An Attempt for Interpretative Reading

Author(s): Tsenka Yordanova
Subject(s): Music
Published by: Институт за изследване на изкуствата, Българска академия на науките

Summary/Abstract: Characteristic for Schoenberg’s poetics is his durable, and especially deep fascination with the concept musical idea (or musical thought, musikalischer Gedanke, Ger., clarified and translated into English by the composer himself as a musical idea; sometimes even in German Schoenberg has used, in the same sense, the term musikalische Idee). The author discusses how Schoenberg constituted his musical poetics on relationships of categories such as: musical idea (musical thought, musikalischer Gedanke) and development (Entwicklung); consequence (consecutiveness, Konsequenz) and logic. They reflect the trend that a musical opus has to be understood as a discourse, as a cognitive process or mental action (Vorgang). Under pressure from the notion musical idea (musikalischer Gedanke) in Schoenberg are converted and withheld the most innovative aesthetic ideas, and that is because in the theory and the poetics of neue Musik this same concept displaces the aesthetic categories of critical philosophers. In its autonomous standing-in-itself musica nova becomes on one hand, interpretatively relatively closed for categories such as beautiful, wonderful, sublime, ingenius etc. However it preserves the access of the autonomous aesthetic content of the classical autonomous aesthetics to the philosophical justified (in the critical philosophy after Kant) autonomous content of music. On the other hand, in the first decade of the twentieth century Schoenberg’s way of thinking paves a new era, namely as he changes in depth and radicalizes to the maximum the understanding of music as well as the way of talking about it. The conclusion is that very often Schoenberg’s interpretive intuition constructs cognitive experiences, set into his conceptual system. This fact changes the angle from which one should estimate the system of categories in his poetics. The hermeneutic circle (or spiral) of the interpretive approaches in Schoenberg often is reflecting different stages of the construction of a musical experience, achieved or thought through each of them: from pre-musical conceptual organization of the musical idea to the potential reality behind the holistic whole of an opus, defined by Schoenberg as a musical thoughtcreation.

  • Issue Year: 2009
  • Issue No: 3-4
  • Page Range: 132-150
  • Page Count: 19
  • Language: Bulgarian