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Abstract(s)
O principal propósito deste trabalho é a investigação da Filosofia da Música na obra do filósofo francês-russo Vladimir Jankélévitch. Este estudo pretende alcançar uma perspectiva ampla da música considerando as suas relações com a Filosofia, Metafísica, Religião e Estética. O tema principal foi o Impressionismo Musical e a questão do Tempo.
Vladimir Jankélévitch deixou atrás de si uma obra surpreendente, tanto no campo da Filosofia como no campo da Música. Os seus escritos no contexto da Ética e da Moral espelham a devoção que, ao longo da sua vida, a música e a performance representaram no seu percurso filosófico. Em contraponto ao estudo filosófico, sempre se fez acompanhar pela Estética Musical, ao mesmo tempo que se ocupava dos compositores modernistas. A sua obra consegue conciliar estas duas vertentes, a filosófica e a musical, exprimindo, deste modo, a quintessência do seu pensamento. Jankélévitch debruça-se sobre as questões clássicas da Filosofia da Música, reunindo-as com a Metafísica e a Ontologia, que funcionaram como o ponto de partida para as suas análises posteriores, onde o autor tenta desconstruir o sentido hermenêutico que, de um modo geral e convencional, se foi atribuindo à música.
Por conseguinte, esta investigação aprofundada interpretando os textos do autor, tem como finalidade analisar não apenas aquilo que escreveu sobre Filosofia, mas os seus diversos estudos sobre Musicologia, especialmente os textos sobre Fauré, Debussy e Ravel. Ao estudarmos a música francesa do fin-de-siècle, as suas análises aprofundadas e a relevância que dá a esta época, esses textos transmitem-nos conhecimentos fundamentais que nos permitem avaliar melhor, não só o que escreveu sobre música, até porque ele faz referências musicais mesmo nos textos considerados não-musicais, meramente filosóficos, o que nos indica que, para compreendermos Jankélévitch, temos de conhecer toda a obra e vê-la num conjunto global. Ao longo da nossa investigação, o que podemos depreender da leitura de Jankélévitch é que o Impressionismo Musical é um fenómeno francês e russo-eslávico, que tem em mira a música espanhola. Por essa razão, nos detivemos durante tanto tempo na Parte I desta tese a explorar as relações da Filosofia Russa com a noção de Filosofia da Vida e de Vitalismo. Nas suas considerações sobre o Modernismo, Jankélévitch considera que Fauré, Debussy e Ravel são vitalistas e naturalistas, que rejeitaram o expressionismo. Esta genealogia do Modernismo está permanentemente envolvida com as questões mais recorrentes da Metafísica, com a Filosofia Antiga de Platão, Aristóteles e do Neoplatonismo, entre as quais Jankélévitch vai introduzindo um dos seus autores de referência, Henri Bergson, sobrevoando várias correntes de pensamento, com a finalidade de demonstrar que a música é um fenómeno do Tempo. Ao conceber a arte musical como uma realidade temporal, vê-la deste modo como algo que está em vias de surgir, que está em criação permanente, significa que não existem estruturas definidas e que a música é somente o instante. Um instante da expressão da vida, um Je-ne-sais-quoi misterioso que nos deslumbra.
The primary purpose of this research is to investigate the Philosophy of Music in the writtings of the French-russian philosopher Vladimir Jankélévitch. This study aspires to have a broad perspective of music and its relations with Philosophy, Metaphysics, Religion and Aesthetics. Our main subject is Musical Impressionism and the question of Time. Vladimir Jankélévitch left behind a remarkable oeuvre steeped as much in Philosophy as in Music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on Music Aesthetics and on modernist composers. His Opus brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the Philosophy of Music, including Metaphysics and Ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense. As an interpretative orientated study, this research had an interest in understanding not only the philosophy works of Jankélévitch, but also his several studies on Musicology, specially his writings about Fauré, Debussy and Ravel. Its direct relevance to fin-de-siècle French music gives us the opportunity to apply the knowledge and skills specific to our discipline to a critique of his musical writings; since he also addresses it in his nonmusical writings, it allows us to broaden the scope of our critique to include his work as a whole. The findings of this study suggest that Musical Impressionism, for Jankélévitch, is a French and Russo-slavic phenomenon, with Spain in second orbit. That is why the “Part I” of this research is devoted to Russian Philosophy and its relations with the notion of Philosophy of Life and Vitalism. In his accounts of Modernism, Fauré, Debussy and Ravel are seen as vitalists and naturalists, rejecting expressionism and consequently embracing various alternatives – objective impression, inexpressiveness, mask, ineffable, etc… This aesthetic genealogy of Modernism is bound up with recurring questions about Metaphysics, Ancient Philosophy of Plato, Aristoteles and neoplatonism, in which Jankélévitch flies his Bergsonian philosophy predilection, by insisting that music is material phenomenon of Time. Seeing musical works as temporal, as a form of Becoming, means that there are not structures and music is just merely instant. An instant of life expression, Je-ne-sais-quoi that astonishes us.
The primary purpose of this research is to investigate the Philosophy of Music in the writtings of the French-russian philosopher Vladimir Jankélévitch. This study aspires to have a broad perspective of music and its relations with Philosophy, Metaphysics, Religion and Aesthetics. Our main subject is Musical Impressionism and the question of Time. Vladimir Jankélévitch left behind a remarkable oeuvre steeped as much in Philosophy as in Music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on Music Aesthetics and on modernist composers. His Opus brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the Philosophy of Music, including Metaphysics and Ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense. As an interpretative orientated study, this research had an interest in understanding not only the philosophy works of Jankélévitch, but also his several studies on Musicology, specially his writings about Fauré, Debussy and Ravel. Its direct relevance to fin-de-siècle French music gives us the opportunity to apply the knowledge and skills specific to our discipline to a critique of his musical writings; since he also addresses it in his nonmusical writings, it allows us to broaden the scope of our critique to include his work as a whole. The findings of this study suggest that Musical Impressionism, for Jankélévitch, is a French and Russo-slavic phenomenon, with Spain in second orbit. That is why the “Part I” of this research is devoted to Russian Philosophy and its relations with the notion of Philosophy of Life and Vitalism. In his accounts of Modernism, Fauré, Debussy and Ravel are seen as vitalists and naturalists, rejecting expressionism and consequently embracing various alternatives – objective impression, inexpressiveness, mask, ineffable, etc… This aesthetic genealogy of Modernism is bound up with recurring questions about Metaphysics, Ancient Philosophy of Plato, Aristoteles and neoplatonism, in which Jankélévitch flies his Bergsonian philosophy predilection, by insisting that music is material phenomenon of Time. Seeing musical works as temporal, as a form of Becoming, means that there are not structures and music is just merely instant. An instant of life expression, Je-ne-sais-quoi that astonishes us.
Description
Keywords
Jankélévitch, Vladimir, 1903-1985 - Crítica e interpretação Música - Filosofia e estética Impressionismo (Música) Tempo (Filosofia) Teses de doutoramento - 2018