AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
The STUDIA UNIVERSITATIS BABEŞ-BOLYAI issue article summary
The summary of the selected article appears at the bottom of the page. In order to get back to the contents of the issue this article belongs to you have to access the link from the title. In order to see all the articles of the archive which have as author/co-author one of the authors mentioned below, you have to access the link from the author's name.
Authors: MARIA-ROXANA BISCHIN.
DOI: 10.24193/subbmusica.2019.2.03
Published Online: 2019-12-10
Published Print: 2019-12-20
pp. 45-65
VIEW PDF: FULL PDF
This article has a precise aim – to develop a deep research in the aesthetic of music and phenomenology of the music. Investigating some traditional sources as Critique of the Pure Reason, and the sources from Johann Sebastian Bach and Antonio Tomaso Vitali, we have observed a natural link between the idea of the ‘substance’ described by Immanuel Kant and the idea of the ‘substance’ in violin music. We have transpositioned the idea of the ‘substance’ in violin music. Even if the work written by Immanuel Kant appears after the signs of the musical Baroque as Bach – Vitali, we had considered that our perspective would be more interested if we will try to fix a paralogism of the substance in a composition named Chaconne. The Chaconne is a composition specific for the Baroque period, but which is well-known to be the most beautiful and the most complicated to be played for the violinists. There is a mysterious debate related to Chaconne, because due to the Partita no.2 in D minor by Bach, Vitali made it Chaconna in G minor. It has complex chromatic structures able to unify sounds which can express the sadness and human suffering with the most fastes sounds which express the tenderness and the silence, in perfection. For the conscience, there is a symmetry in the Chaconne – because the ‘I’ can reach the most painful feelings with the most tender and healing states of the soul through the power of the sounds. Starting with the premise that the sounds have a deeply force for the manifestation of the lived facts of the conscience, we will try to see how Chaconne functions in this way linked by the paralogism of the substance and by the idea of the ‘Beauty’ of the sound.
Keywords: ‘Beauty’, sounds, violin’s tradition, phenomenological-hermeneutics of violin, substance, sonorous phenomenons, Kant, Tomaso Vitali, Bach, Jascha Heifetz, René-Charles “Zino” Francescatti, Chaconne.
