An Exchange between Gadamer and Glenn Gould on Hermeneutics and Music

Hamlin, Cynthia Lins

doi:10.1177/0263276415576218

Cited by 31 publications

(5 citation statements)

References 14 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…In accordance with this, we find the interpretation of musical hermeneutics as the establishment of the relationship between interpretation and context in history based on the concepts of worldview, linearity, traditions, here-being from the philosophical teaching of M. Heidegger (Riera, 2015). Based on philosophical paradigms C. L. Hamlin (2015) found an interpretation of musical hermeneutics.…”

Section: Resultsmentioning

confidence: 99%

See 1 more Smart Citation

Historical Hermeneutics of Musical Styles

Маркова¹,

Androsova²,

Muravska³

et al. 2021

rupkatha

View full text Add to dashboard Cite

The relevance of the study of the historical hermeneutics of musical styles is determined by the need to find a philosophical basis for changing the cultural paradigm and the desire to return classical canons to musical art in particular. The aim of the work is to analyse the characteristic features of the interpretation of musical styles in accordance with the principles of historical hermeneutics on the example of jazz music. The research was conducted in two stages on the basis of interdisciplinary, systematic and hermeneutical approaches using general scientific methods of cognition: analysis, synthesis, systematization, comparison and ascent from the abstract to the concrete. In the process of scientific research, the views of researchers on the interpretation and understanding of hermeneutics in the context of musical art were considered; a general characteristic of the hermeneutics of musical styles in accordance with historical and philosophical prerequisites was given; the main elements of the theoretical model of musical philosophy of interpretation, which include critical interpretation, the purpose of interpretation, compatibility with description and limitation by requirements were described; the author’s concept of interpretation of musical styles, formed at three levels, were proposed; the characteristics of the hermeneutics of jazz style, in particular the presence of musical improvisational discourse, historical duality, transcendentality of content and form, advertising integration are determined; the article summarizes the specifics of jazz in accordance with two components: the European harmonic system and the fret principles of blues intonation, which made it possible to identify and generalize the theory of interpretation of jazz in the historical and philosophical paradigm. The practical value of scientific work consists in providing a comprehensive hermeneutical base of jazz style in order to further improve the practical application of musical style by teachers, students, musicians and specialists in the field of musical art.

show abstract

Section: Resultsmentioning

confidence: 99%

“…It is advisable to determine the intersubjectivity of music according to the scientific views of H. Gadamer and G. Gould (Hamlin, 2015). At the same time, B.…”

Section: Resultsmentioning

confidence: 99%

Historical Hermeneutics of Musical Styles

Маркова¹,

Androsova²,

Muravska³

et al. 2021

rupkatha

View full text Add to dashboard Cite

show abstract

“…In fact, when two voices overlap, one tends to become dominant and the other becomes an accompaniment, causing an 'imbalance' to emerge between the two. The solution to this imbalance is to alternate the main theme or melody from one voice to the other, giving each an equal importance (Hamlin, 2016). The musical technique of combining two or more voices in contrasting ways is called counterpoint.…”

Section: Towards a More Polyphonic Canonmentioning

confidence: 99%

In defense of a polyphonic sociology: Introducing female voices into the sociological canon

Hamlin¹,

Weiss²,

Brito³

2022

Sociologias

View full text Add to dashboard Cite

Recent controversies surrounding the sociological canon have foregrounded the need to think about the process of erasing and silencing 'non-Western' and female contributions to the discipline. By emphasizing the androcentrism of the sociological canon, our goal is to contribute to the construction of a less biased and limited sociology through the inclusion of female voices previously excluded from its official history. We start by briefly describing the conditions that enabled this exclusion, taking the Chicago women sociologists as an example, along with the emergence of a particular conception of theory and research associated with the formation of the classical canon. Next, by questioning the use of terms such as 'founders,' 'classics' and 'canon,' we maintain that the existence of a canon, classical or otherwise, plays a central role in the identity of the discipline and of social theory itself. Finally, in order to productively include the contributions of sociology's women pioneers, we propose substituting the literary metaphor of the canon with a musical one: a type of polyphony that emphasizes the contrast between different voices and simultaneously establishes how they can be combined in a common tradition that makes dialogue possible. 1

show abstract

“…Ocorre que, quando duas vozes sobrepostas, uma tende a se tornar dominante e a outra a se tornar um acompanhamento, de forma que um "desequilíbrio" emerge entre as duas. A solução para este desequilíbrio é alternar o tema ou melodia principal de uma voz para outra, conferindo a todas igual importância (Hamlin, 2016). A técnica musical de combinação entre duas ou mais vozes de forma contrastante chama-se contraponto -na "tradução" de Said (1993) para termos mais literários, o contraponto diz respeito à combinação de um "argumento" e um "contra-argumento" por um sujeito e um contrassujeito.…”

Section: Em Direção a Um Cânone Mais Polifônicounclassified