Heinrich Schenker's 'Intramusical' Hermeneutics : Through a Comparison of Hermeneutics of Hermann Kretzschmar and Wilhelm Dilthey

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Other Title
  • ハインリヒ・シェンカーの「音楽内的」解釈学 : ヘルマン・クレッチュマーとヴィルヘルム・ディルタイの解釈学との比較を通じて
  • ハインリヒ シェンカー ノ オンガク ナイテキ カイシャクガク ヘルマン クレッチュマー ト ヴィルヘルム ディルタイ ノ カイシャクガク ト ノ ヒカク オ ツウジテ

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Abstract

This paper aims to re-examine Heinrich Schenker's (1868-1935) thoughts of music under the frame of musical hermeneutics, by comparing the hermeneutics of Schenker and Hermann Kretzschmar (1848-1924) as representatives of music analysis and musical hermeneutics through Dilthey's hermeneutics. While Kretzschmar proposed inner understanding by listening into "affects" as spiritual content from tones (1902; 1905), the object of Schenker's "true hermeneutics" (1913) was "tonal life," in which movements of tones and human life were identical. Although both correlated tones with "spiritual life," the difference exists in what they regarded as internal: for Schenker, the criterion was to be inside music, but Kretzschmar contrasted internal mentality with external tones. The discrepancy about inner/outer difference corresponds to the discrepancy between Dilthey's general and musical hermeneutics. Dilthey's distinction in 1900 coincided with Kretzschmar's in that the "inner" and "spiritual" expressed in external signs should be understood. However, in Dilthey's "The Musical Understanding" (c.1905), experience was internalized in music and "the life itself" was to be expressed. Interestingly, such a view resonates with Schenker's intramusical hermeneutics.

Journal

  • Aesthetics

    Aesthetics 60 (2), 30-43, 2009

    The Japanese Society for Aesthetics

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