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IV Colóquio Kant de Marília: Kant and Music Harmony and Melody in Kant's
Second Analogy of Experience José Oscar de Almeida
Marques ABSTRACT My aim in this paper is to examine how, from a Kantian perspective,
the model of the Second Analogy of Experience could be applied to the
perception of objective successions and coexistences of musical
sounds. In his original exposition, Kant drew on the famous examples of the visual
perception of a stationary house and of a ship in motion to illustrate his
argument – what I propose here is to extend that discussion to the
realm of auditory experience, especially to the hearing of chords and melodic
lines. My reason to suggest that such an extension might be acceptable to Kant
is the Reflection 5750, in which, after repeating the rule of the Second
Analogy for distinguishing between simultaneity and succession, Kant immediately
adds, as if by way of illustration, the words “harmony and melody”.
In the first section of my text I try to show how the reasoning of the Second
Analogy might be transferred to this new realm of experience; then, in the following
section, I examine some difficulties related to this proposed transference of
the Kantian argument; and I conclude by presenting and answering some objections
that could be raised against my proposal. ============= Harmonia e Melodia na Segunda Analogia da
Experiência de Kant RESUMO Meu objetivo neste
trabalho é examinar como, numa perspectiva kantiana, poderíamos aplicar o
modelo da Segunda Analogia da Experiência à percepção de sucessões ou
coexistências objetivas de sons
musicais. Em sua exposição, Kant valeu-se dos famosos exemplos da percepção
visual de uma casa estacionária e de um navio em movimento para ilustrar sua
argumentação – trata-se aqui de tentar estender essa reflexão ao
domínio da experiência auditiva, em especial à audição de acordes e de linhas
melódicas. Meu ponto de apoio para sugerir que essa extensão poderia ser
aceita pelo autor é a Reflexão 5750, |