청자의 상상함과 음악적 이해: 형식주의적 분석과 해석학적 분석의 경계를 넘어서
Listeners' Imaginings and Musical Understanding : Beyond the Dichotomy of Formalist and Hermeneutic Analysis
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This essay investigates the essence of listeners’ musical experience and understanding through critical readings of Fred Everett Maus’s analysis of Beethoven’s String Quartet Op. 95 in his "Music as Drama" and Edward T. Cone’s analysis of Schubert’s Moments musicaux Op. 94, no. 4 in his "Schubert’s Promissory Note: An Exercise in Musical Hermeneutics." From the anthropomorphism and the fusion of technical vocabulary and dramatic description of music prevalent in both analyses, this essay ultimately claims that listeners’ psychological involvement and imaginings play an essential role in the understanding of music under discussion. Meanwhile, it also shows that the traditional dichotomy between formalist and hermeneutic approach to music does not work in the experience of music examined in this essay
Abstract
This essay investigates the essence of listeners’ musical experience and understanding through critical readings of Fred Everett Maus’s analysis of Beethoven’s String Quartet Op. 95 in his "Music as Drama" and Edward T. Cone’s analysis of Schubert’s Moments musicaux Op. 94, no. 4 in his "Schubert’s Promissory Note: An Exercise in Musical Hermeneutics." From the anthropomorphism and the fusion of technical vocabulary and dramatic description of music prevalent in both analyses, this essay ultimately claims that listeners’ psychological involvement and imaginings play an essential role in the understanding of music under discussion. Meanwhile, it also shows that the traditional dichotomy between formalist and hermeneutic approach to music does not work in the experience of music examined in this essay
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