Musicologica Olomucensia vol. 24, (2016):101-111 | DOI: 10.5507/mo.2016.017
Od Mersmanna k Lewinovi: ke konceptuální proměně fenomenologické analýzy hudby
- Univerzita Palackého, Katedra muzikologie, Univerzitní 3, 771 80 Olomouc, Česká republika
Hans Mersmann představil svou koncepci hudební struktury ve dvacátých letech dvacátého století a rozvinul ji zejména jako systém formových typů popisujících klasický hudební repertoár. Nadto formuloval řadu postupů, o něž by se měla opírat hudební analýza. Ovšem s ústupem tonality v hudbě dvacátého století se význam tohoto rámce snížil. Mersmannův přístup ostatně nezačal být široce uplatňovaný ani v kontextu tonální hudby. Naopak model Davida Lewina, formulovaný jako model hudebního vnímání a rozvinutý v rámci fenomenologických aplikací o šedesát let později, se stal vlivným teoretickým postojem se zjevným analytickým potenciálem. Předkládaná studie diskutuje oba přístupy na pozadí hudební časovosti a srovnává jejich explikativní sílu, přičemž zvažuje především výhody Lewinova přístupu.
Keywords: Hans Mersmann, David Lewin, Wallace Berry, Edward Lippman, hudební časovost, fenomenologická analýza hudby
From Mersmann to Lewin: Toward a Conceptual Shift Within the Phenomenological Analysis of Music
Hans Mersmann presented his concept of musical structure in the 1920s and developed it mainly as a system of form types describing the classical music repertoire. In addition to this, he formulated a set of procedures to be used in the analysis of music. However, with the withdrawal of tonality in twentieth-century music, the significance of his framework for music analysis lessened. Moreover, even within the context of tonal music his approach has not become widely applied. On the contrary, David Lewin's model, developed within phenomenological reasoning sixty years later, despite being a model of musical perception, has turned into an influential theoretical stance with appealing analytical potential. The present paper discusses both approaches against the background of musical temporality and compares their explicative power while considering the advantages of Lewin's model.
Keywords: Hans Mersmann, David Lewin, Wallace Berry, Edward Lippman, musical temporality, phenomenological analysis of music
Published: December 11, 2016 Show citation
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