Examinando por Materia "Absoluta"

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    Revisión crítica de la significabilidad de la música
    (Universidad EAFIT, 2022) Grajales Tamayo, Sara Isabel; Yepes Londoño, Gustavo
    The question of whether or not music can have meaning has been considered throughout history by various aesthetic currents with the intention of explaining the nature and essence of this art. In this search, many different thinkers have proposed associations with other artistic expressions, precisely because, due to its ineffable nature, music cannot express the concrete concepts that could give an affirmative answer to this question, as many have assumed it could. The error committed by many ancient conceptions regarding musical art having meaning was to approach the extra-musical idea or content, style, and reception of music from its performance, which, in its various historical moments, we can see as an inevitable and acceptable concept. Over time, musicology in general has been approached from different disciplines, which have offered diverse metalanguages in the exploration of the problem of meaning, from its written creation, its re-creation as interpretive performance, and its reception by both the performers themselves as well as the public. These dimensions of music, both from the growing expansion of musicological branches and through the now worldwide recognition of Nattiez’s "tripartition,” allow us to explain the musical phenomenon from a) its immanent essence (neutral level), b) its location in the time and style (poietic level) and c) its perception or reception (aesthetic level). An association of the musical phenomenon with external agents—artistic, scientific or technical—will always be possible and pertinent in many cases, but not necessary or indispensable. Music cannot be denied its purity and independence, something that it was able to achieve briefly with the genre of 'absolute music' as part of Romanticism. In this work, we approach the problem of meaning exclusively from its immanent dimension, that is, from a music that is purely emancipated from any external relationship. We will then critically review whether music is capable of expressing, representing or signifying on its own, from the opinions and conclusions that have addressed this problem, which will be our reference basis when proposing other approaches from new perspectives.