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초록· 키워드
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This discourse will examine Hoffmann's notion of music. This should serve as an opportunity co look at music from the Romantic period not just from one point of view, as something belonging co one musical genre, but to take a step back and observe it from a higher dimension as a work of art which is closely related to other fields of the arts and above all to the philosophical-intellectual phenomena of the time.
Hoffmann's notion of music is based in essence upon the early Romantic philosophy of nature, whose core idea is the unity of man and nature. As we will see here in his review of Beethoven's 5th Symphony, his notion of music requires that each musical genre should carty as its ideal the stamp of the all-encompassing organical metaphor of instrumental music. Thus, the work of music is to be understood as both an autonomous, subjective self-development of the individual and at the same time as a reflection upon universal nature.
As a form of expression, music is separate from other art forms such as poetry and painting according to Hoffmann. What they do have in common, however, is that they both determine the nature of pure instrumental music. Hoffmann was of the opinion that the nature of pure instrumental music as an aesthetic entity should be integral within in each musical genre. Therefore a piece of music should not be confined just within its musical bouods but should soar beyond them and be complemented by other art forms. Thus, an ideal piece of music, i.e. a synaesthetical piece of music, is created in which all-encompassing nature and the individual free subjectivity of the musician finds expression. Through the synaesthetical work of music the listener is drawn into a moment of reverie, similar to religious or artistical contemplation) affording him a glimpse of the ideal world. Finally, one can say that with the attempt of a piece of music to become a synaestbetical work of art through the cooperation with other forms of art or music, the musicians of the Romantic period express nothing more than their yearning for a "Romantic" world.
Taking Hoffmann's notion of music as an example, this discourse aims to examine the all-encompassing and essential nature of Romantic music. With regard to the relationship between music and man as well as music and society, looking at the music of the Romantic period could offer an opportunity to reflect upon the importance of music to society.
Hoffmann's notion of music is based in essence upon the early Romantic philosophy of nature, whose core idea is the unity of man and nature. As we will see here in his review of Beethoven's 5th Symphony, his notion of music requires that each musical genre should carty as its ideal the stamp of the all-encompassing organical metaphor of instrumental music. Thus, the work of music is to be understood as both an autonomous, subjective self-development of the individual and at the same time as a reflection upon universal nature.
As a form of expression, music is separate from other art forms such as poetry and painting according to Hoffmann. What they do have in common, however, is that they both determine the nature of pure instrumental music. Hoffmann was of the opinion that the nature of pure instrumental music as an aesthetic entity should be integral within in each musical genre. Therefore a piece of music should not be confined just within its musical bouods but should soar beyond them and be complemented by other art forms. Thus, an ideal piece of music, i.e. a synaesthetical piece of music, is created in which all-encompassing nature and the individual free subjectivity of the musician finds expression. Through the synaesthetical work of music the listener is drawn into a moment of reverie, similar to religious or artistical contemplation) affording him a glimpse of the ideal world. Finally, one can say that with the attempt of a piece of music to become a synaestbetical work of art through the cooperation with other forms of art or music, the musicians of the Romantic period express nothing more than their yearning for a "Romantic" world.
Taking Hoffmann's notion of music as an example, this discourse aims to examine the all-encompassing and essential nature of Romantic music. With regard to the relationship between music and man as well as music and society, looking at the music of the Romantic period could offer an opportunity to reflect upon the importance of music to society.
목차
1. 머리말
2. 호프만의 음악관
3. 맺음말
ABSTRACT
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