期刊
BRITISH JOURNAL OF AESTHETICS
卷 -, 期 -, 页码 -出版社
OXFORD UNIV PRESS
DOI: 10.1093/aesthj/ayad018
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This article discusses the ekphrastic description of experiencing music and compares it with the commonly used analysis in music theory and musicology. It emphasizes the ancient understanding of ekphrasis and presents a new approach to researching the art of music by combining analytic philosophy and phenomenology. The article employs a methodology developed in art history to conduct an ekphrastic analysis of Arnold Schoenberg's Six Little Piano Pieces Op. 19.
This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia and Siglind , , ). The ekphrastic analysis of the first movement of Arnold Schoenberg's Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed by Gottfried and Georges , , , ) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology.
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