普渡Essay代写:Chua

2017-03-23 10:17

Chua也觉得意义的建构，在瓦格纳对绝对音乐的谴责退出之后，形式应该消失了。相反，绝对的音乐回到讨论桌，瓦格纳结束了他开始的论点的反面，留下尼采和其他人认为他改变了双方，迫使瓦格纳退出辩论。在瓦格纳的简短的进军绝对音乐的问题爱德华·汉斯力克在非常音乐瓦格纳防御采用的术语要埋葬。然后，瓦格纳采用了叔本华哲学关于形而上学真理通过器乐透露。这让绝对音乐三的解释，瓦格纳最初的介绍来看，Hanslick的正式采用影响康德和叔本华的形而上学的概念。Hanslick的音乐是绝对解释问题的本质，他认为音乐能表达情感使人但这是外来音乐的精华。但是，Hanslick认为，进一步分析造成死亡的对象审查使之无用和疏远的社会大背景的形式。对于尼采和瓦格纳，音乐是一种手段，连接到的人，可以被操纵，这种操纵，后来开始尼采和瓦格纳之间的裂痕，后者成为讨厌瓦格纳的操纵性能在拜罗伊特1876。瓦格纳使用叔本华的意志意志，并用它来“证明音乐戏剧和新的宗教”的真理。

普渡Essay代写:Chua

Chua also felt that the construction of Meaning, after Wagner’s denunciation of absolute music’s relevance, the form should have disappeared. Instead absolute music returned to the discussion table and Wagner ended up at the opposite side of the argument he started, leaving Nietzsche and others thinking that he switched sides, forcing Wagner to resign from the debate altogether. After Wagner’s brief foray into the absolute music question Eduard Hanslick adopted the term in defense of the very music Wagner wanted to bury. Then Wagner adopted Schopenhauers philosophy about metaphysical truth being revealed through instrumental music. This left three interpretations of absolute music, Wagner’s original introduction of the term, Hanslick’s formal adoption with influences of Kant, and Schopenhauers metaphysical concept. Hanslick’s interpretation of absolute music is a question of essence, he believes music can cause man to emote but that this is extraneous to music’s essentials. But, Hanslick believed that further analysis caused death to the object scrutinized rendering it useless and alienating the form from its larger social context. For both Nietzsche and Wagner, music was a means that connected to the people and could be manipulated and it was this manipulation that later started the rift between Wagner and Nietzsche, the latter becoming disgusted with Wagner’s manipulating performance in Bayreuth in 1876. Wagner uses Schopenhauer’s ideas about Will and used it to “justify the truth of music drama and the new ‘religion.’

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