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Gregor Pompe (str. 8-10)

Glasba med sociološkim in fenomenološkim

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Gregor Pompe (pp. 15–25)

The Phenomenological, Sociological, and Psychological
Understanding of Music

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When trying to investigate the understanding of music, there are a number of epistemologically and methodologically diverse perspectives, and this is associated with the fairly vague definition of music. Firstly, music exists in the form of a waving motion as a physical-acoustic dimension that reaches the listener’s/receiver’s ear. At the time of the »reception« of music, the human
neuropsychological mechanism is triggered, which causes the process of semiosis – when we imbue music with meaning strongly exceeding the basic, physical characteristics of music as a sound. In the history of music studies, one can discern the periodical shifting of scientific methodologies that have placed now this and later the other perspective in the center of their research. Meanwhile the author of the article claims that for a holistic understanding of music one needs to employ all the different methodological starting points. Music must be understood as a “two-sided” process:
it is possible to investigate the “path” that leads from the creation of music to the emergence of listener’s meaning or to begin with the latter and try to connect it with the intentionality of the author.

Keywords: musicology, phenomenology, sociology of music, psychology of music, acoustics, semantics of music

Gregor Pompe is Associate Professor at the Department of Musicology at the Faculty of Arts, University of Ljubljana. His scientific interest is focused mainly on musical semantics, history of opera, and contemporary music. He is also active as a composer and music critic. (Ta e-poštni naslov je zaščiten proti smetenju. Potrebujete Javascript za pogled.)


Aleš Nagode (pp. 26–34)

‘Sonate, que me veux-tu?’ and Other Quandaries of the Epistemology
of Music

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The article focuses on the question of today’s role of racism and racist discrimination, and attempts to discuss the relationship between ideology and act (deed) in cases of individual and collective violent deeds. The main question is whether racism represents above all an ideology, and if so, what kind of ideology this is and to which end it serves. Is racism in the first place an ideology of hatred that changes ideas and words into deeds, into violence, i.e. is racism above all an ideological blueprint for violence that emerges from hatred? On the basis of the thesis on neoracisms as cultural racisms, the article first drafts the contemporary understanding of racism as racism without the race. The second part is dedicated to the analysis of racist ideological features that emerged in the preparation of collective violence in cases of former Yugoslavia and Rwanda, and to the question how those experiences could help understand today’s role of racism(s). The main observation is that violence did not emerge from the ideological/racist constructions of (elusive) enemies, but that racist construc­tions represented complex constructs of inequality that served as buffers against (political) responsibility. In the contemporary global world, such constructs above all justify racist institutions and deeds. In the conclusion, the EU anti-racist policy, which focuses on racist ideology like hate speech and hate crime and leaves the inconvenient questions of systematic structural racism of EU laws and institutions aside, is questioned.

Keywords: music, epistemology, ontology, neuropsychology, aesthetic

Aleš Nagode is a musicologist and Assistant Professor of Musicology at the Faculty of Arts, University of Ljubljana. The focus of his research work is the music of antiquity and 18th and 19th centuries.
(Ta e-poštni naslov je zaščiten proti smetenju. Potrebujete Javascript za pogled.)acism, ideology, hate speech, hate crime, (collective) violence, EU anti-racist policy




Matjaž Barbo (pp. 35-43)

Musical Meaning as a Generator of Musical Pleasure

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The idea of emancipated instrumental music is connected to the establishment of the modern concept of the Fine Arts, which in turn produced a requirement for the understanding of music as created by some lonely misunderstood genius. The hidden codes of the aesthetic essence of art were to be understood only by some congenial soul, and at the same time perceived only by direct experience (“perfectio cognitionis sensitivae”). However, it is obvious that our sensory perception is unreliable, incomplete, and limited due to numerous factors (ideological, social, historical, aesthetic, etc.), and thus in need of critical examination. At the same time the understanding of these mechanisms provides only a partial account of music, since they ignore the object of aesthetic contemplation. Therefore, we need a reflection on the systems of the “understanding of musical understanding,” i.e., a wider hermeneutical analysis of the integration of music in a referential context constituted of musical significance, meaning, pleasure and value.

Keywords: musical aesthetics, meaning in music, aesthetic value, musical hermeneutics

Matjaž Barbo is Full Professor at the Department of Musicology at the Faculty of Arts of the University of Ljubljana. His research focuses on the music from the 18th century to the present, and in
questions linked to aesthetics and sociology of music. (Ta e-poštni naslov je zaščiten proti smetenju. Potrebujete Javascript za pogled.)


Primož Trdan (pp. 44-51)

Improvisation and the Phenomenological Time

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The article offers a phenomenological perspective on improvised music, a musical praxis which is more often dealt with in sociology. While sociological texts focus on the topics of music in the society, rather than on the questions of sociality in music itself, this article deals with the latter by viewing the improvisational moment by means of a phenomenological method. The author attempts this by looking at the differences between improvisation and composition. It turns out that differences between them are also the differences between subjective, internally sensed time and time reproduction through memory—improvisation celebrates the living-in-time, its attention is paid to time in which social relations are most intense, while composition more often finds its greatest invention in triggering memory associations within itself.

Keywords: music, improvisation, composition, phenomenology, time

Primož Trdan is a musicologist and PhD student at the Department for Musicology at the Faculty of Arts, University of Ljubljana. (Ta e-poštni naslov je zaščiten proti smetenju. Potrebujete Javascript za pogled.)


Mirt Komel (pp. 52-62)

Freunde, Nicht Diese Töne! Adorno's Socio-Philosophy of Music through Beethoven's Sonata Form, Hegel's Dialectics, and Marx's Class Struggle

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The article juxtaposits three levels of understanding music–musicological, philosophical, sociological–as extractable from Adorno's musicological works, and poses the thesis that the principle on all three levels is the same, as dicernable through an analysis of the logic at work in the case of Beethoven's sonata form, Hegel's dialectics, and Marx's class struggle.

Keywords: Adorno, Marx, Hegel, Beethoven, dialectics, class struggle

Mirt Komel is Assistant Professor of Philosophy at the Department of Cultural Studies of the Faculty of Social Science at the University of Ljubljana. (Ta e-poštni naslov je zaščiten proti smetenju. Potrebujete Javascript za pogled.)


Ičo Vidmar (pp. 63-75)

Music, Every Day, Everywhere

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Today’s challenge for the understanding of music in the society and everyday life is a new issue: music is omnipresent due to the availability of dissemination and storage technologies. Therefore, attention should be paid to the effects of accessible music, i.e. both to the increased availability of a variety of musical forms and styles, as well as to the apathy in the reception of music as an object of special attention. In contrast with technological determinism, we, along with Chion, expose three dominant technicist myths about high fidelity, reproduction, and the technical management of music. Regarding the relationship between sociology and musicology, the author offers as one of the possible solution an older notion of socio-musicology, as a relevant interdisciplinary approach to the research on music, to which more productive sections of sociology and ethnomusicology— and the dilemmas of both— refer. The text focuses on this issue in more detail. Building on the conceptualization of the four modes of listening by Pierre Schaeffer, the author argues for a revaluation
of listening to all sound events on a general level, taking into account the listener’s confusion, and the passages from one listening to the other. The structural role of well-theorized music in the film
could be a convenient way for questioning the role of music in everyday life, also in the case of muzak, which, on a fully functional and economic level, supplies and, in various transformations, still
co-structures modern daily life. The essay is a call for a wider focus in the studies of music as has been the case in particular in western academia and traditional science.


Keywords: music in everyday life, ubiquity music, technicist myths, four modes of listening, sociology of music, music in film, muzak

Ičo Vidmar is a sociologist of culture. He works as an independent writer, translator, and critic. From 1988 onwards, he has been a host of a regular radio show on Radio Študent, Ljubljana, dedicated to jazz, blues, improvised music, and African music. (Ta e-poštni naslov je zaščiten proti smetenju. Potrebujete Javascript za pogled.)


Jože Vogrinc (pp. 76-89)

Towards the Problem of the Emergence of Popular Music

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The text is a reaction against the prevailing ahistoricity in popular music studies and its Anglo-centrism, in which popular music is implicitly understood as Anglo-American, coexistent with the global capitalist market, self-evident, and timelessly, eternally “present”. These assumptions can nevertheless be made explicit and be subject to a historical examination of their validity, which then leads to an examination of historical conditions for the emergence of various popular music types across the non-Western world. These conditions are shown to be much more diverse and much less self-evident than usually assumed in popular music studies.

Keywords: popular music studies, historicity of popular music, global emergence of popular musics, world music, critique of anglocentrism in popular music studies

Jože Vogrinc is a lecturer at the Department of Sociology at Faculty of Arts, University of Ljubljana. (Ta e-poštni naslov je zaščiten proti smetenju. Potrebujete Javascript za pogled.)



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