Normal view MARC view

Entry Topical Term

001 - CONTROL NUMBER

003 - CONTROL NUMBER IDENTIFIER

005 - DATE AND TIME OF LATEST TRANSACTION

008 - FIXED-LENGTH DATA ELEMENTS

010 ## - LIBRARY OF CONGRESS CONTROL NUMBER

035 ## - SYSTEM CONTROL NUMBER

040 ## - CATALOGING SOURCE

150 ## - HEADING--TOPICAL TERM

450 ## - SEE FROM TRACING--TOPICAL TERM

550 ## - SEE ALSO FROM TRACING--TOPICAL TERM

670 ## - SOURCE DATA FOUND

Source citation: Work cat.: 2005445242: Astor, M. Aproximación fenomenológica a la obra musical de Gonzalo Castellanos Yumar, 2002.

670 ## - SOURCE DATA FOUND

Source citation: New Grove dict. of music, 2nd ed.:
Information found: Analysis, II, 6: since 1970 (Derridean deconstruction presented an alternative to the linkage of structuralism and phenomenology ... An early example of musical phenomenology was the study by the Swiss conductor and mathematician Ernest Ansermet (1961). Ranging across mathematical, acoustical and philosophical issues, it reached a study of musical structures that centred on the idea of the melodic path (chemin mélodique)) Philosophy of music, III, 9: aesthetics: 20th century theorists (The advocates of phenomenology closest to its founder, Edmund Husserl, such as Roman Ingarden are concerned to give exhaustive descriptions of the structures via which the world is "given to us," and they often deal with ontological issues similar to those that concern analytical philosophers, such as the status of the musical work qua score and qua performance. Ingarden argues, for example, that the musical work is a "purely intentional object," reducible neither to the score nor to a specific performance (or set of performances))

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