Pojęcie idealnej granicy w estetyce dzieła muzycznego Romana Ingardena

Aspekty Muzyki 1:203-225 (2011)
Download Edit this record How to cite View on PhilPapers
Summary: In this paper author maintains that the term “ideal border” used by Roman Ingarden several times in his writing on music perception has more to offer than its face value suggests. The term is ambiguous and in its first reading seems to imply that Ingarden's take on musical work is all but coherent. Yet author tries to show that the term itself if taken seriously in its various possible interpretations makes Ingarden's aesthetics of music more interesting and inspiring then ever. The musical work seen as wobbly yet somehow graspable ideal [border] which is at the same time the point of departure and the point of destination for composers, artists and listeners in their respective experiences, makes Ingarden's music aesthetics more accessible and more telling in its attempt to discover the true nature of our aesthetic perception of music.
PhilPapers/Archive ID
Revision history
Archival date: 2016-02-29
View upload history
References found in this work BETA

No references found.

Add more references

Citations of this work BETA

No citations found.

Add more citations

Added to PP index

Total views
192 ( #22,336 of 50,290 )

Recent downloads (6 months)
40 ( #15,203 of 50,290 )

How can I increase my downloads?

Downloads since first upload
This graph includes both downloads from PhilArchive and clicks to external links.