Problem dzieła muzycznego w myśli estetycznej Romana Ingardena
Abstract
Magdalena Krasińska
A Work of Music in Roman Ingarden’s Aesthetics
Abstract
The theme taken in this article is an ontological concept of the musical work of Roman Ingarden developed on the basis of phenomenological aesthetics. According to the eidetic reduction Ingarden rejects any colloquial opinions about how the existence of a musical composition, so that he holds that musical work is not the same nor the mental experience, or the performance, or to the music notations.
Making a critique of the idealistic, psychologistic and materialistic positions to explain how the existence of the musical work, Ingarden classified it as a object of purely intentional, where the musical notation is the ontological basis. Currently notation don’t allow for consolidation of all the moments of the work, especially not sound moments, so musical composition as every being intentional, is the scheme required to complete and define more precisely where are the ontological gaps; each performance of a musical work is the complete of potential spaces, specification of works.
A few comments on so constructed theory publishes musicologist Zofia Lissa. The main objection against Ingarden is the fact that his concept aspires to be universal, while he created it solely on the basis constituted in the scores ‘classical’ works of modern European music, while ignoring other musical phenomena, such as avant-garde music or folklore.
Finally raised is a matter of the ontology of newest pieces of music, belonging to the so-called popular music, that do not have ontological basis in the form of musical notation, what in view of the Ingarden’s theory does problematic the issue of their identity.
Keywords: ontological concept of the musical work, phenomenological aesthetics, Roman Ingarden, identity of the musical work.
A Work of Music in Roman Ingarden’s Aesthetics
Abstract
The theme taken in this article is an ontological concept of the musical work of Roman Ingarden developed on the basis of phenomenological aesthetics. According to the eidetic reduction Ingarden rejects any colloquial opinions about how the existence of a musical composition, so that he holds that musical work is not the same nor the mental experience, or the performance, or to the music notations.
Making a critique of the idealistic, psychologistic and materialistic positions to explain how the existence of the musical work, Ingarden classified it as a object of purely intentional, where the musical notation is the ontological basis. Currently notation don’t allow for consolidation of all the moments of the work, especially not sound moments, so musical composition as every being intentional, is the scheme required to complete and define more precisely where are the ontological gaps; each performance of a musical work is the complete of potential spaces, specification of works.
A few comments on so constructed theory publishes musicologist Zofia Lissa. The main objection against Ingarden is the fact that his concept aspires to be universal, while he created it solely on the basis constituted in the scores ‘classical’ works of modern European music, while ignoring other musical phenomena, such as avant-garde music or folklore.
Finally raised is a matter of the ontology of newest pieces of music, belonging to the so-called popular music, that do not have ontological basis in the form of musical notation, what in view of the Ingarden’s theory does problematic the issue of their identity.
Keywords: ontological concept of the musical work, phenomenological aesthetics, Roman Ingarden, identity of the musical work.
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