首页> 外文OA文献 >Med Schopenhauer gennem musikkens døre
【2h】

Med Schopenhauer gennem musikkens døre

机译:与叔本华一起穿越音乐之门

摘要

The following thesis is integrated in Philosophy & Science Studies and History and is based upon the intention of trying to put the German 19th century philosopher Arthur Schopenhauer's ideas of music into a different context, that of the music of the counterculture from the late 1960s. This enquiry is based upon the use of source material from magazines like the Danish underground magazine Superlove and its British counterpart International Times amongst others. Record reviews, interviews with musicians and other articles that can shine a light upon the use and importance of music as a means to the experience that Schopenhauer calls the aesthetic contemplation. The aesthetic contemplation is described by Schopenhauer to be the momentary release from the sufferings of life brought on by the everpresent Will. When listening to music or enjoying beautiful art one might experience a moment of dissolution of the ego, where time and space vanish leaving only a feeling of fusion with the art piece being contemplated.By using this philosophy of music in connection to the rock music of the late 1960s, primarily from the United State of America, England and Denmark, I've intended to try to find out whether Schopenhauers thoughts are hopelessly outdated or if it still can be used either in its entirety or partially. After searching through aforementioned source material this thesis is brought to the conclusion that some of Schopenhauer's thoughts are clashing with the rock music of the late 1960s, because of the philosophy being challenged by new views of music in generel and by the use of narcotics which influenced the environment around music and in particular the rock music scene because of the emergence of the psychedelic rock music. However, overall I believe that Schopenhauer's ideas of music as the most immediate art form has the ability to bring people into a different and transcendent state of mind, which I believe has been made clear that the rock music of the late 1960s was very much capable of doing.
机译:以下论文被整合到哲学与科学研究和历史学中,其目的是试图将德国19世纪哲学家叔本华的音乐理念置于不同的背景下,即从1960年代后期开始的反文化音乐背景。这项查询基于对丹麦地下杂志《 Superlove》及其英国《国际时报》等杂志的原始资料的使用。记录评论,与音乐家的访谈以及其他文章,这些文章可以启发人们对音乐的使用和重要性有所了解,这是叔本华所说的审美观的一种手段。叔本华将美学上的沉思描述为永恒的意志所带来的生活苦难的短暂释放。当听音乐或欣赏美丽的艺术品时,人们可能会经历自我消解的一瞬间,时间和空间消失了,只留下了与所考虑的艺术品融合的感觉。在1960年代后期,主要是从美利坚合众国,英国和丹麦来的我,我打算试图弄清叔本华的思想是否已经过时了,或者仍然可以全部或部分地使用。在对上述原始资料进行搜索之后,本论文得出的结论是,叔本华的某些思想与1960年代后期的摇滚音乐发生了冲突,这是因为哲学受到普通音乐新观点的挑战以及受到麻醉品影响的哲学的挑战。由于迷幻摇滚音乐的出现,音乐周围的环境,尤其是摇滚音乐环境。但是,总的来说,我相信叔本华作为最直接的艺术形式的音乐思想能够将人们带入一种不同而超越的心态,我相信这一点已经清楚地表明,1960年代后期的摇滚音乐非常有能力做事。

著录项

  • 作者

    Olsen Majbrit Munk;

  • 作者单位
  • 年度 2016
  • 总页数
  • 原文格式 PDF
  • 正文语种 da_DK
  • 中图分类

相似文献

  • 外文文献
  • 中文文献
  • 专利

客服邮箱:kefu@zhangqiaokeyan.com

京公网安备:11010802029741号 ICP备案号:京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有
  • 客服微信

  • 服务号