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dc.contributor.authorDahl, Per
dc.date.accessioned2014-02-04T08:44:13Z
dc.date.available2014-02-04T08:44:13Z
dc.date.issued2013
dc.identifier.citationDahl, P. (2013) På kant med Kant : Et bekjennende essay. Studia Musicologica Norvegica, pp. 116-133no_NO
dc.identifier.issn0332-5024
dc.identifier.urihttp://hdl.handle.net/11250/185902
dc.description.abstractKant can’t always be right. There are some aspects of Kant’s philosophy that make him unsuitable for the understanding of a musical experience. His contribution to aesthetic theory is developed in the Critique of Judgement (1790), where he investigates the possibility and logical status of “judgements of taste”. In this essay, I argue that his exploration of the inherent limits of our knowledge through philosophical reasoning seems to impede an understanding of the musical experience. This experience is a combination of ontological and epistemological procedures that precede a theory in music aesthetics. Taking a connectionist perspective, it seems impossible to isolate the aesthetic judgement from its embodiment. This embodiment makes it necessary to accept an epistemic dimension ahead of every aesthetic judgement. This epistemic dimension is a combination of subjective experiences and the subject’s cultural knowledge. Using Kant’s theory in music aesthetics might therefore reduce our understanding of the listener’s approach to a musical experience.no_NO
dc.language.isonobno_NO
dc.publisherUniversitetsforlagetno_NO
dc.subjectKantno_NO
dc.subjectmusikkno_NO
dc.subjectmusic experienceno_NO
dc.subjectaesthetic theoryno_NO
dc.subjectCritique of Judgementno_NO
dc.titlePå kant med Kant : Et bekjennende essayno_NO
dc.typeJournal articleno_NO
dc.subject.nsiVDP::Humanities: 000::Musicology: 110no_NO
dc.source.pagenumber116-133no_NO
dc.source.volume39no_NO
dc.source.journalStudia Musicologica Norvegicano_NO


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