A tonalidade da raz?o : a historicidade da m?sica em Hegel e o caso Schoenberg

• Autor(a) principal: Kurle, Adriano Bueno
• Data de Publicação: 2016
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_RS
• Texto Completo: http://tede2.pucrs.br/tede2/handle/tede/7059
• topic: M?SICA; ARTES; HEGEL, GEORG WILHELM FRIEDRICH - CR?TICA E INTERPRETA??O; FILOSOFIA ALEM?; CIENCIAS HUMANAS::FILOSOFIA

This Thesis is constructed through a transdisciplinary approach that articulates philosophy and musicology. The problem is related with the historicity of music, treating it conceptually through Hegel?s philosophy, in a relation with two conceptions of harmony in the history of academic music: the tonal conception and the twelve-tone conception, represented in this Thesis by its creator, Arnold Schoenberg. The main concepts to be show involve what is necessary to comprehend the philosophy and historicity of music in Hegel?s thought, and the exposition of the first chapter goes as follows: (1) it is presented a global vision of Hegel?s philosophy, that has the logic as its basis, in a broad concept of reason. It is presented the relation between the logical and ontological elements of the triad universal-particular-singular, how the perspective of the negativity as main ontological element, the logical triad of the understanding, dialectical reason and speculative reason and, finally, the logical tool of the Aufhebung, are the conceptual basis of Hegelian philosophy, that has its logical expression unified in the concept of Idea; (2) in the second part is approached the concept of Geist, in which the self-reflective concretion of reason is realized through reflective genesis of human in theoretical (subjective Geist), practical (objective Geist) and cultural (absolute Geist) fields. In this general approach, art is situated in a way that the capacities of the theoretical subject (namely, intuition, representation and thinking) are related with the forms of knowing in the cultural level (absolute Geist), where art, religion and philosophy are situated; (3) in the third part of this chapter the history is established in Geist?s context, where the selfconsciousness of nations are brought to the historical process, culminating in the search for its global unity, what Hegel calls Geistgeschichte; in what follows, art is situated in relation to the context of the absolute Geist and to the Lectures on Philosophy of Art, where the concept and the phenomenon of art are distinguished in its three conceptual levels: the universal, in which it is founded the general concept of art, the Ideal; the particular level, which approaches the historical manifestation of art according to the different kinds of consciousness that they represent; and the singular level, related to the materials and the senses of the artistic manifestations. The second chapter deals with the musical forms of reason, starting with a Hegel?s approach about music and how he limits his thought to the tonal model of harmony, failing to not recognize the immanent historicity of music; it follows with the approach of the tonal musical reason, to deals with the Schoenberg?s twelve-tone model as representative of the atonal musical reason. The third and last chapter relates the event of the Schoenberg?s harmonic conception with Hegel?s philosophy of art, recognizing the logical development of musical inferentialism through history and the place of music in the history of the Hegelian post end of art as aesthetic manifestation and self-reflection of the absolute Geist in its inner life.