God's Will or Peoples' Power. Believing in Sonic Environments
The article approaches the issue of believing and making believe from the point of view of sound and music. According to the classical aesthetic theory of Hegel, the power of music takes a grip on the subject and animates it. According to a newer theory of cultural techniques and to media thinking,...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Ed. de l'Ecole des Hautes Etudes en Sciences Sociales
[2019]
|
| In: |
Archives de sciences sociales des religions
Year: 2019, Volume: 187, Pages: 149-169 |
| Standardized Subjects / Keyword chains: | B
Hegel, Georg Wilhelm Friedrich 1770-1831, Vorlesungen über die Ästhetik
/ Musik
/ Milieu
/ Feelings
/ Faith
/ Will of God
/ Free will
|
| RelBib Classification: | AB Philosophy of religion; criticism of religion; atheism AG Religious life; material religion CB Christian life; spirituality |
| Further subjects: | B
Environmental thinking
B Electronic Music B Cultural Techniques B Twelve-Tone Composition B Sound Media |
| Online Access: |
Presumably Free Access Volltext (Resolving-System) Volltext (doi) |
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| 520 | |a The article approaches the issue of believing and making believe from the point of view of sound and music. According to the classical aesthetic theory of Hegel, the power of music takes a grip on the subject and animates it. According to a newer theory of cultural techniques and to media thinking, the individual and the social space, the subjective and the objective are much more entangled. Arnold Schoenberg, in negotiating religious space, establishes close relations between the animate and the inanimate, the human and the environmental in his opera "Moses and Aron". Music and sound do not force themselves upon the listeners, but summon them to perceive and make new differences and decisions. Jean-Marie Straub and Danièle Huillet in their adaptation of the opera still enforce this entanglement towards an ecological understanding of social relations. | ||
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