{"id":6402,"date":"2014-07-01T00:00:00","date_gmt":"2014-06-30T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/schluessige-kombinationskunst\/"},"modified":"2024-08-13T15:15:28","modified_gmt":"2024-08-13T13:15:28","slug":"schluessige-kombinationskunst","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/buecher-rezensionen\/2014\/07\/schluessige-kombinationskunst","title":{"rendered":"Arte della combinazione coerente"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Fo.jpg\" alt=\"\" width=\"554\" height=\"369\" \/><figcaption class=\"wp-caption-text\">Immagine: Roland Marz - Fotolia.com<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>Per migliaia di anni, i filosofi si sono formati sulla musica, su questa strana arte contemporanea cos\u00ec difficile da comprendere, che soffre di una malattia nota come autismo. La musica si ritira quando ci si avvicina troppo ad essa. \u00c8 come un budino che non pu\u00f2 essere inchiodato al muro. - Niente di tutto questo impressiona Gunnar Hindrichs, 42enne professore di filosofia all'Universit\u00e0 di Basilea. Non \u00e8 uno psicologo, ma ha una formazione metafisica e speculativa e ha studiato musicologia, anche attraverso un intenso dialogo con Theodor W. Adorno. Quello che ha scritto ora in <em>L'autonomia del suono<\/em> non \u00e8 altro che un chiarimento delle domande fondamentali: che cosa costituisce un'opera d'arte musicale? E: in che cosa pu\u00f2 consistere un'ontologia della musica, cio\u00e8 la sua definizione completa dell'essere?<\/p>\n<p>Una cosa del genere non si legge come una barzelletta nella <em>Vista.<\/em> Hindrichs presuppone la conoscenza del concetto di materiale di Adorno, degli scritti estetici di Helmut Lachenmann e degli sviluppi significativi della storia della musica dal XIII secolo a oggi. Hindrichs riesce a combinare tutto questo in modo coerente. Ci\u00f2 \u00e8 dovuto a una concentrazione incondizionata sulle sue domande iniziali e a un'elevata capacit\u00e0 di astrazione. In 252 paragrafi e sei capitoli, egli attraversa gli aspetti fondamentali della musica: il materiale musicale viene discusso in forma modificata, dal suono musicale al tempo e allo spazio musicale, al significato musicale e al pensiero musicale.<\/p>\n<p>Queste cose elementari non possono avvenire senza perdite per attrito, senza esclusione. Non ci sono esempi musicali, n\u00e9 riferimenti specifici a opere. Quando Hindrichs si riferisce alla storia della musica, di solito lo fa sotto forma di termini generali che tradiscono il filosofo progressista. Musique concr\u00e8te, Nuovo Concettualismo, Musique sp\u00e9ctrale e Musique concr\u00e8te instrumentale di Lachenmann sono tutti citati, anche se il \"materiale\" rumoroso su cui si basano questi fenomeni entra chiaramente in frizione con le categorie formulate. In termini di definizione ontologica, Hindrichs deve accettarlo. Non lo nega, ma distingue tra pensare <em>circa <\/em>Musica e pensiero <em>in<\/em> Musica.<\/p>\n<p>La determinazione immanente dell'essere dell'opera d'arte musicale tocca le idee di musica assoluta. Hindrichs esclude le musiche extraeuropee e funzionali, nonch\u00e9 le questioni istituzionali, musicosociologiche o etnografiche, sulle quali \u00e8 chiaramente scettico. Ci\u00f2 non sminuisce il suo merito. Dopo averlo letto, si percepisce la musica in modo diverso. La sua visione fredda e analitica diventa pi\u00f9 calda nell'incontro diretto con il suono. Gi\u00e0 questo \u00e8 un grande vantaggio!<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/hind.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Gunnar Hindrichs, L'autonomia del suono. Una filosofia della musica, 272 p., Fr. 24.50, stw 2087, Suhrkamp, Berlino 2014, ISBN 978-3-518-29687-5<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>L'opera d'arte musicale come oggetto di filosofia. Un'osservazione analitica molto astratta che pu\u00f2 tuttavia avere un effetto sul proprio ascolto.  <\/strong><\/p>","protected":false},"author":1,"featured_media":6403,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1214,29],"tags":[],"class_list":["post-6402","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-buecher-rezensionen","category-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Schl\u00fcssige Kombinationskunst - Schweizer Musikzeitung<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.musikzeitung.ch\/it\/rezensionen\/buecher-rezensionen\/2014\/07\/schluessige-kombinationskunst\/\" \/>\n<meta property=\"og:locale\" content=\"it_IT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Schl\u00fcssige Kombinationskunst - Schweizer Musikzeitung\" \/>\n<meta property=\"og:description\" content=\"Das musikalische Kunstwerk als Gegenstand der Philosophie. 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