Music and emotion
From The Art and Popular Culture Encyclopedia
| Revision as of 09:51, 23 November 2021 Jahsonic (Talk | contribs) ← Previous diff |
Revision as of 09:52, 23 November 2021 Jahsonic (Talk | contribs) Next diff → |
||
| Line 7: | Line 7: | ||
| English: | English: | ||
| - | "“In the face of Schubert’s music, tears fall from the eye without first asking leave of the soul; so unpictorial and real is it as it enters into us." | + | "[There is a Schubert who speaks in] dialect, but it is a dialect divorced from the soil. It is the incarnation of a homeland - but not a homeland here, a remembered one...There is no path from Schubert to the perfection of a genre or to "the art of blood and earth" [Schollenkunst], only one to depest depravity and another to the still-hardly addressed reality of a free music of the transformed man and a transformed culture. In irregular waves, like a seismograph, Schubert's music has heard the news of a qualitative change in man. Tears are the fitting response; the tears of the feeblest lilac-time sentimentality, the tears of the exhausted body, no matter. In fact of Schubert's music, tears fall from the eye, without first asking leave of the soul; so unpictorial and real is it, as it enters into us. We weep without knowing why: because we are not yet as this music promises us..." |
| + | |||
| |} | |} | ||
| {{Template}} | {{Template}} | ||
Revision as of 09:52, 23 November 2021
|
"In an early work, Adorno once disclosed his emotional-epistemological secret almost without camouflage. In a few heartrending lines he wrote about crying in response to Schubert's music, about how tears and knowing (Erkenntnis) are connected. This music makes us cry because we are not like it, not something complete, which turns toward the lost sweetness of life like a distant quotation." --Critique of Cynical Reason (1983) by Peter Sloterdijk "Vor Schuberts Musik stürzt die Träne aus dem Auge, ohne erst die Seele zu befragen: so unbildlich und real fällt sie in uns ein. Wir weinen, ohne zu wissen warum […]. Wir können sie nicht lesen; aber dem scheidenden, überfluteten Auge hält sie vor die Chiffren der endlichen Versöhnung."--Adorno English: "[There is a Schubert who speaks in] dialect, but it is a dialect divorced from the soil. It is the incarnation of a homeland - but not a homeland here, a remembered one...There is no path from Schubert to the perfection of a genre or to "the art of blood and earth" [Schollenkunst], only one to depest depravity and another to the still-hardly addressed reality of a free music of the transformed man and a transformed culture. In irregular waves, like a seismograph, Schubert's music has heard the news of a qualitative change in man. Tears are the fitting response; the tears of the feeblest lilac-time sentimentality, the tears of the exhausted body, no matter. In fact of Schubert's music, tears fall from the eye, without first asking leave of the soul; so unpictorial and real is it, as it enters into us. We weep without knowing why: because we are not yet as this music promises us..." |
|
Related e |
|
Featured: |
The study of 'music and emotion' seeks to understand the psychological relationship between human affect and music. It is a branch of music psychology with numerous areas of study, including the nature of emotional reactions to music, how characteristics of the listener may determine which emotions are felt, and which components of a musical composition or performance may elicit certain reactions. The field draws upon, and has significant implications for, such areas as philosophy, musicology, music therapy, music theory and aesthetics, as well as the acts of musical composition and performance.
See also
