This page contains links to items on the internet about music and the German philosopher Martin Heidegger (1889-1976).
The links below are ordered chronologically with the most recent additions at the top.
Heidegger's valorisation of speech is a denial of the organisation in/of time of/by inorganic matter; that is, of/by technical beings. Moreover, it is a denial crucial to the opposition of instrumentality to a number of other figures: culture, thought, life, the human, speech, even science.
'To look through the lens of technology projects an understanding which Heidegger calls Bestand, meaning stockpile; as the project of technology becomes an active quest to accumulate commodities and resources. The rush of new musical "products" which support the massive music industry -- along with an emerging planned obsolescence -- provide evidence of this. Indeed, Heidegger posits, people themselves can become Bestand themselves as they stand forever waiting to accumulate.'
The dissertation consists of two parts: (1) the essay and (2) the composition. The essay elucidates the composer's creative process of the orchestral works, The Heidegger Collection. The Heidegger Collection has five movements. The titles of each movement are derived from the key philosophical concepts from Heidegger's most significant writing, Being and Time: (1) State-of-Mind, (2) Idle-Talk, (3) Moment-of-Vision, (4) Dread, and (5) Being-towards-the-End. The essay discusses the meanings of the five concepts, and explains how I express my reaction to Heidegger's thinking through music composition. The essay also discusses the essential musical language of The Heidegger Collection, such as interval cycles, polyrhythmic patterns, algorithmic elements, portamento effects, chaos theory, and oriental influence.
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A reassessment of musique concrète, comprising historical contextualization, critical synopsis, and interpretation of Schaeffer's trajectory, from the Études de bruits (1948) to Traité des objets musicaux (1966). Henry's Variations pour une porte et un soupir (1963) are presented as emblematic of the concrete procedure.
From Heidegger's View to Feenberg's Subversive Rationalization
ABSTRACT: The following study represents work-in-progress. In this preliminary study I will explore the topic of subject-object dualism as it arises in musical analysis. My work is strongly influenced by Martin Heidegger's "fundamental ontology," which he presents in his important philosophical work, *Being and Time* [1927].(1) I will argue that Heidegger's critique of Rene Descartes' systematic reduction of intellectual certainty to a fundamental "first fact of knowledge"--the famous *cogito, ergo sum*--offers us a useful guide in the consideration of dualism as it occurs in musical analysis. Heidegger's notion of destructuring (*Destruktion*) will prove to be especially valuable in investigating this problem. The exploration of subject-object dualism will then lead to consideration of musical understanding and musical meaning, and concepts derived from the writings of Heidegger and Hans-Georg Gadamer will be employed as I suggest a number of preliminary solutions to problems that will arise in the discussion of these issues.
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From Music Theory Online
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