음악미학에 기초한 절대음악 감상 지도법: 헤겔과 한슬릭의 음악미학 비교를 중심으로

Abstract

In this paper I consider the essence of music on the basis of Hanslick's musical aesthetics and the matter of how to appreciate absolute music in relation of it. The aims of this study are as follows : (1) to deeply understand music by comparing Hanslick's musical aesthetics with Hegel's, (2) to propose an efficient method of guidance for absolute music appreciation on the basis of Hanslick's musical aesthetics. Hegel maintains that music is ‘the expression of emotion’ and it is subordinate to the poetry. But Hanslick criticizes this ‘emotional aesthetics’. He insists that the contents of music are ‘sounding moving forms’ and therefore it is independent of the poetry. He insists on the originality of music. That is, he supports ‘formal musical aesthetics’ which looks upon the essence of music as pure relations of tones themselves. In that viewpoint of Hanslick's musical aesthetics we can propose a method of guidance for absolute music appreciation. On the position of emotional musical aesthetics we can not deeply understand absolute music. But on the position of formal musical aesthetics which focuses on elementary components of music and their combinations we can appreciate absolute music as it is. However the current school music education in the viewpoint of emotional musical aesthetics makes much of the title of the music for listening and the feelings from it. Therefore the interest degree of the students in the absolute music is low, and it is not deeply appreciated by them. To appreciate the absolute music rightly, we should understand analytically and synthetically the component factors and the expressive factors of music and their mode of combination and construction. On the basis of the above argument we can draw up a concrete guidance program for the lesson to appreciate absolute music.