著者

伊藤 るみ子

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.37, no.3, pp.24-34, 1986

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Kurt regarded the energy in music as psychic phenomenon. He thought it important that we had the impression of space only when we listened to the music but not when we heard sounds. Because in music we use terms of "Raumvorstellung", for example "high or low". Kurt distinguished "klanglicher Raum" from "musicalischer Raum". The former is the space formed by the positions of instruments and the latter, by the energy in music. He thought that the musical space was more important than the acoustic space, because this is physical while that is psychic. From his point of view, the true dissonance of tones or chords is not acoustic but musical-the musically dissonant tones have the energetic tension (Spannung, Erregung), the value of which the psyche can determine. The motion in music is not actual motion of tones but the motion of "Kraftzug"-the change of tense energy (Spannungsenergie). We grasp this motion by "Hinuberhoren"-"Nebenhoren", "Voraushoren" and "Zuruckhoren". And we understand the above psychologically. In this sense the musical aesthetics of Kurt is basically psychological.