Musik und religiöse Erfahrung
This essay centers on the issue, whether music can have a specific religious meaning. It conveniently can be answered solely in the context of a general asthetics of music. Its different developments and concepts can be classified in two types. The first defines music in a pure formalistic manner wi...
| Main Author: | |
|---|---|
| Format: | Print Article |
| Language: | German |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Echter
2001
|
| In: |
Zeitschrift für katholische Theologie
Year: 2001, Volume: 123, Issue: 1, Pages: 69-82 |
| Standardized Subjects / Keyword chains: | B
Musik
/ Religious experience
|
| RelBib Classification: | AE Psychology of religion CD Christianity and Culture |
| Parallel Edition: | Electronic
|
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| 520 | |a This essay centers on the issue, whether music can have a specific religious meaning. It conveniently can be answered solely in the context of a general asthetics of music. Its different developments and concepts can be classified in two types. The first defines music in a pure formalistic manner with pure aesthetical effect (Hanslick). The second postulates, that music transports through her formalistic syntax meaningfull contents: the harmony of cosmic order (Pythagoras, Platon), objective feelings (Hegel, Schopenhauer) or the idea of an infinite, transcendent reality (Bruno Walter, Tieck, Wackenroder, E. T. A. Hoffmann, Mahler, Strauß, Messiaen). According to the second type music intentionally expresses a hermeneutical message, which is not limited, but opens man to religious experience with direct cognitive relevance. | ||
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