19세기 초 예술통합 담론과 낭만주의 음악미학

• 영문명: A discourse of unification of the arts in the early 19th century and romantic aesthetics of music
• 발행기관: 한국서양음악학회
• 저자명: 권정선
• 간행물 정보: 『서양음악학』제9권 제3호, 149~168쪽, 전체 20쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2006.09.30

영문 초록

Even before Wagner the idea of the “Gesamtkunstwerk” was present. While Wagner's idea is the “collective” unification of the arts, the Early Romanticists discuss “the transcendental unification” of all art forms. The artists of the early Romantic period recognize the limitations of their own art form and are aware of the necessity that the other arts have to help them to represent the universe, where man and nature are in unity and where the individual and the universal interrelate. They believe that each art form will gain its “unique self” through the unification of the arts, so that in a work of art individual particularity and universal generality interrelate, just as in the ideal world. Since absolute music is recognized as the metaphor of the universe and the unification of all arts, the Early Romanticists demand that the nature of music as an aesthetic substance become present in all works of art. Thus, the yearning for a “Gesamtkunstwerk” is closely linked to a new perception of music. Finally, it is expected of a work of music of the 19th century that it appear as a “Gesamtkunstwerk” through “musicalization”, i. e. through the “transcendental” unification of all arts.

목차

서론

Ⅰ. 선행 연구: 종합예술작품과 낭만주의 음악미학

Ⅱ. 19세기 초 예술통합 담론의 철학적 배경

Ⅲ. 초기 낭만주의 종합예술작품의 개념: 공감각적 표현을 통한 감정표현의 극대화

Ⅳ. 초기 낭만주의 종합예술작품의 개념과 낭만주의 음악미학

결론

참고문헌

키워드

종합예술작품 낭만주의 음악미학 절대음악 예술상호관계 초기 낭만주의 공감각 총체 집합적 통일 선험적 통일 미적 주체 Gesamtkunstwerk Romantic Aesthetics of Music Absolute Music Interrelation of the Arts Early Romanticism Synaesthetics Synthesis Collective Unification Transcendental Unification Aesthetic Substance