By Gunnar Bucht
Quite often conversing, the philosophy of song hitherto will be stated to strategy song, because it have been, from above or from outdoors. song, therefore envisaged, should be «absolute» or «sounding kinds in motion». it may be expression, have a linguistic that means, inform a narrative, be a manifestation of «the global as will and conceptualization», and reflect society’s inward contradictions. track is obvious as an task, occasionally as interactivity, now not least via an anthropological method during which prominence is given to its origins. This paintings is an try and opposite the argument, through taking the phenomenon of tone because the place to begin to paintings the best way as much as an knowing of the phenomenon of song, to make a philosophy of tone the basis of a philosophy of track. Such techniques have been already found in the author’s prior works, yet, being to be had purely in Swedish, should be enlarged the following.
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Extra info for Aeolian Harp: An Essay Concerning the Nature of Tone
What Handschin formulates here is a theory, not only concerning the origin of music but also concerning its essence, its ontology. Before we proceed to enlarge on this theme, both the view taken and the man taking it should be placed in a perspective of the history of ideas in philosophy, namely the philosophy of music. 33 Someone may possibly have gained the impression than in Handschin’s case we are dealing with a theoretical musicology taken to extremes. He probably saw himself in this way, and Der Toncharakter carries the subheading Eine Einführung in die Tonpsychologie.
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