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초록· 키워드
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When studying Schopenhauer’s aesthetics of music, it becomes obvious that the idea of absolute music developed in early Romanticism plays a decisive role throughout the whole Romantic period. Schopenhauer and the early Romanticists both assume that music is the embodiment of the deep inner self and has an intense impact on the heart of the human being. Schopenhauer, however, replaces the transcendental ideal world, which Wackenroder and Tieck describe, with the will. Schopenhauer understands the will as the essence of the physical world and the innermost feeling of the human being. Music is the direct expression of the will. In Schopenhauer’s aesthetics absolute music, guiding the yearning for a “divine world” in early Romanticism, reaches the metaphysics of the physical will. In Schopenhauer’s philosophy, music is the essence of the empirical world as well as a part of the whole world. According to Schopenhauer, the world is full of human suffering caused by the will. The only way to end the suffering is to negate the will to live. In music he sees a possibility for humans to reach the moment of contemplation, which, however, is just a temporary negation of the will.
According to Schopenhauer, music expresses the will at a metaphysical level and is in an analogous relationship with the whole world. Music and the world both have the will as the original roots.
Schopenhauer’s philosophy of will, as a completely new idea, has a decisive impact on Wagner. Through Schopenhauer’s philosophy Wagner understands his own thoughts, which he has felt subconsciously for a long time, but has not been able to explain. The reception of Schopenhauer’s aesthetics of music, based on the relationship between music, the world and the will, helps Wagner to reconstruct his ideas about absolute music.
In the Zurich Schriften Wagner holds the opinion that music should serve drama, whereas his early ideas about music are very close to those of the early Romanticists and Schopenhauer. The publications, which were written after his reception of Schopenhauer, show that music does not just have an empirical but also a metaphysical meaning. Through his reception of Schopenhauer Wagner finds back to the early Romantic idea of absolute music. Now, for Wagner, music is definitely the expression of the very essence of the whole world, as it is for the early Romanticists, but it is not an expression of the divinity, but of the will, as it is for Schopenhauer. In his musical drama, music finally is to sound the essence of the world, i.e. the will.
According to Schopenhauer, music expresses the will at a metaphysical level and is in an analogous relationship with the whole world. Music and the world both have the will as the original roots.
Schopenhauer’s philosophy of will, as a completely new idea, has a decisive impact on Wagner. Through Schopenhauer’s philosophy Wagner understands his own thoughts, which he has felt subconsciously for a long time, but has not been able to explain. The reception of Schopenhauer’s aesthetics of music, based on the relationship between music, the world and the will, helps Wagner to reconstruct his ideas about absolute music.
In the Zurich Schriften Wagner holds the opinion that music should serve drama, whereas his early ideas about music are very close to those of the early Romanticists and Schopenhauer. The publications, which were written after his reception of Schopenhauer, show that music does not just have an empirical but also a metaphysical meaning. Through his reception of Schopenhauer Wagner finds back to the early Romantic idea of absolute music. Now, for Wagner, music is definitely the expression of the very essence of the whole world, as it is for the early Romanticists, but it is not an expression of the divinity, but of the will, as it is for Schopenhauer. In his musical drama, music finally is to sound the essence of the world, i.e. the will.
목차
서론
Ⅰ. 의지와 표상으로서의 세계
Ⅱ. 예술을 통한 의지의 거부
Ⅲ. 쇼펜하우어의 음악미학
Ⅳ. 쇼펜하우어의 음악미학이 바그너에 끼친 영향
결론
참고문헌
Abstract
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