El concepto de obra en la filosofía de la música = The concept of "work" in the philosophy of music
En el presente artículo reflexiono sobre cómo el concepto de "obra" ha llegado a ocupar un lugar determinante en el pensamiento sobre el arte y en el modo de experimentarlo y comprenderlo. Presento igualmente algunos elementos de reflexión sobre la ontología de la "obra" para cen...
| Subtitles: | The concept of "work" in the philosophy of music |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | Spanish |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
[publisher not identified]
2022
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| In: |
Veritas
Year: 2022, Volume: 51, Pages: 57-82 |
| RelBib Classification: | VA Philosophy |
| Further subjects: | B
Goodman
B Obra musical B Aesthetics B Ontology of the work of art B Goehr B Musical work B Ontología de la obra de arte B Estética |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a En el presente artículo reflexiono sobre cómo el concepto de "obra" ha llegado a ocupar un lugar determinante en el pensamiento sobre el arte y en el modo de experimentarlo y comprenderlo. Presento igualmente algunos elementos de reflexión sobre la ontología de la "obra" para centrarme en el caso de las obras musicales, "mutantes ontológicos", que han sido objeto de atención preferente de la filosofía analítica. Esta reflexión, sin embargo, al poner en primer término las consideraciones ontológicas relativas las condiciones de identidad de la obra han acabado desarrollando tesis que renuncian a los componentes estéticos y atentan contra nuestras convicciones y prácticas más asentadas. Por ello, finalmente apelo a la conveniencia de privilegiar un enfoque histórico para comprender que hay más música que obras musicales. | ||
| 520 | |a In this article I reflect on how the concept of "work" has come to occupy a determining place in our thinking about art and in the way we experience and understand it. I also present some elements of reflection on the ontology of the "work" in order to focus on the case of musical works, "ontological mutants", that have been the object of preferential attention of analytical philosophy. This reflection, however, by putting in the foreground the ontological considerations concerning the conditions of identity of the work, has ended up developing theses that forget the aesthetic components and go against our most established convictions and practices. For this reason, I finally appeal to the convenience of privileging a historical approach in order to understand that there is more to music than musical works. | ||
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