Ricardo Nachmanowicz

This article seeks to define and characterize artistic autonomy in Eduard Hanslick and Luigi Russolo theoretical works: (1) based on an analysis of sound in the context of musical autonomy and (2) based on an analysis of noise in the context of sound autonomy. In both cases, the role of the technical listener, concerned with the creation of instruments, and the applications of sound in artistic works, was the main subject. In both cases we identified listening attitudes focused on sound as sound, but large differences in the listening parameters listed. We conclude by characterizing Luigi Russolo's The Art of Noise as an exemplary case of autonomization in art, defined through the election of new parameters candidates for emancipation in discontinuity with other autonomous arts.

The present work addresses the aesthetic philosophy of Eduard Hanslick in order to demarcate it as an epistemological approach to music and a paradigmatic case for musical autonomy. The epistemological assumptions that guided the work On the Musically Beautiful and its most likely influences were analyzed. We conclude by presenting musical idea as an epistemological formulation strongly influenced by positivism and as a qualifying principle of autonomous musical perception. We add to this conclusion a disambiguation with Kant›s concept of aesthetic idea.

ABSTRACT The article analyzes the subject of musical listening of time in Vladimir Jankélévitch philosophy, seeking to assess what is the phenomenal proof alleged by Jankélévitch to support the thesis that musical listening of time carries the same properties as Henri Bergson’s concept of durée. We conclude that (1) Jankélévitch’s temporal descriptions are not sufficient to sustain that listening to music is equivalent to listening to the properties of durée, and that (2) this fact implies a problem both for the maxim “music is the art of time” and for the general capacity of Bergsonism, verified in other authors, to founding a philosophy of music.