An Empirical Validation of Schopenhauer's Theory of Music Through Analysis of Listeners' Experiences of Mahler's Ninth Symphony

An Empirical Validation of Schopenhauer's Theory of Music Through Analysis of Listeners'... 13 AN EMPIRICAL VALIDATION OF SCHOPENHAUER'S THEORY OF MUSIC THROUGH ANALYSIS OF LISTENERS' EXPERIENCES OF MAHLER'S NINTH SYMPHONY John W. Osborne and Lillian Kennedy In the end, even the creative achievements of Shakespeare and Bach must be eradicated by death and nothingness, when the earth is burnt up in the sun. But the temporality of human existence and meaning does not invalidate the quest for meaning-for even that future universe, as dead as it must be will have some meaning, in that it contains the artifacts, even in ashes, of the sometime existence of human life and consciousness. We HAVE BEEN. It was towards this vision that Mahler strove (Holbrook, 1975, p. 29). This study is the confluence of the first author's attraction to Mah- ler's music and an interest in existential-phenomenology: while reading Gabriel Marcel's The Philosophy of Existentialism I noted his comment upon how influential Schopenhauer's theory of music had been in his own life. I recalled that both Wagner and Mahler had been strongly influenced by Schopenhauer's ideas. I began reading Schopenhauer. Schopenhauer's theory of music appeared to have strong face validity for me as a result of my own experience of Mahler's music with http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Phenomenological Psychology Brill

An Empirical Validation of Schopenhauer's Theory of Music Through Analysis of Listeners' Experiences of Mahler's Ninth Symphony

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Publisher
Brill
Copyright
© 1985 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0047-2662
eISSN
1569-1624
D.O.I.
10.1163/156916285X00025
Publisher site
See Article on Publisher Site

Abstract

13 AN EMPIRICAL VALIDATION OF SCHOPENHAUER'S THEORY OF MUSIC THROUGH ANALYSIS OF LISTENERS' EXPERIENCES OF MAHLER'S NINTH SYMPHONY John W. Osborne and Lillian Kennedy In the end, even the creative achievements of Shakespeare and Bach must be eradicated by death and nothingness, when the earth is burnt up in the sun. But the temporality of human existence and meaning does not invalidate the quest for meaning-for even that future universe, as dead as it must be will have some meaning, in that it contains the artifacts, even in ashes, of the sometime existence of human life and consciousness. We HAVE BEEN. It was towards this vision that Mahler strove (Holbrook, 1975, p. 29). This study is the confluence of the first author's attraction to Mah- ler's music and an interest in existential-phenomenology: while reading Gabriel Marcel's The Philosophy of Existentialism I noted his comment upon how influential Schopenhauer's theory of music had been in his own life. I recalled that both Wagner and Mahler had been strongly influenced by Schopenhauer's ideas. I began reading Schopenhauer. Schopenhauer's theory of music appeared to have strong face validity for me as a result of my own experience of Mahler's music with

Journal

Journal of Phenomenological PsychologyBrill

Published: Jan 1, 1985

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