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A Christian Art? Søren Kierkegaard’s Views on Music and Musical Performance Reconsidered

  • Nils Holger Petersen EMAIL logo
Published/Copyright: August 18, 2020
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Kierkegaard Studies Yearbook
From the journal Kierkegaard Studies Yearbook Volume 25 Issue 1

Abstract

While the only extensive discussion of music in Kierkegaard’s work is the famous treatise based on Mozart’s opera Don Giovanni in the first part of the pseudonymous Either/Or (1843), Kierkegaard did write other brief passages, in which he made comments on musical aspects. Two recent articles have pointed to attitudes toward music in such passages which seem to differ from the negative evaluation of music as a religious or theological medium in the first part of Either/Or by the fictitious aesthete A. With a point of departure in the two mentioned articles, I attempt to further discuss the possible relationship between the ethical and the aesthetic in Kierkegaard’s musical thought, involving passages from both parts of Either/Or as well as a few journal-entries. Finally, Erika Fischer-Lichte’s distinction between staging and performativity is brought to bear on these issues.

Online erschienen: 2020-08-18

© 2020 Walter de Gruyter GmbH, Berlin/Boston

Articles in the same Issue

  1. Front matter
  2. Title pages
  3. Preface
  4. Contents
  5. Articles
  6. Section 1: Problems and Perspectives in Kierkegaard’s Authorship
  7. Section 1:   Problems and Perspectives in Kierkegaard’s Authorship
  8. A Christian Art? Søren Kierkegaard’s Views on Music and Musical Performance Reconsidered
  9. Between the Two Ethics: Why Assessor Wilhelm is not a Judge
  10. Narrative Variation and the Mood of Freedom in Fear and Trembling
  11. On Fear and Trembling’s Motif of the Promise: Faith, Ethics and the Politics of Tragedy
  12. The Ambiguity of Mimesis: Kierkegaard between Aesthetic Fantasy and Religious Imitation
  13. Know Yourself in the Mirror of the Word: Kierkegaard on Self-Knowledge
  14. „Mein Bestreben, das Martyrium zu verherrlichen…“ Zur Idee des Martyriums in Kierkegaards Journalen ab 1846
  15. Section 2: Kierkegaard’s Sources and Historical Context
  16. Section 2:   Kierkegaard’s Sources and Historical Context
  17. The Faust Project in Kierkegaard’s Early Journals
  18. Of Clairvoyants and Mousvoyants: Kierkegaard’s Polemic against Speculative Philosophy in the “Telegraph Messages”
  19. Section 3: Receptions and Reflections of Kierkegaard’s Thought
  20. Section 3:   Receptions and Reflections of Kierkegaard’s Thought
  21. Does Kierkegaard’s Rewritten Parable of the Good Samaritan Leave the World to the Devil? Kierkegaard and Adorno on What it Means to Love one’s Neighbor in the Modern World
  22. Kierkegaard and Beauvoir: Existential Ethics as a Humanism
  23. Double Consciousness and Despair: Exploring a Connection Between Søren Kierkegaard and W.E.B. Du Bois
  24. Hitchcock Meets Kierkegaard: Selfhood and Gendered Forms of Despair in Vertigo and The Sickness unto Death
  25. Section 4: Kierkegaard’s Authorial Strategies
  26. Section 4:   Kierkegaard’s Authorial Strategies
  27. The Mutiny of the Pseudonyms in the Kierkegaardian Authorship
  28. Section 5: Primary Texts in Translation
  29. Section 5:   Primary Texts in Translation
  30. Johan Ludvig Heiberg’s “Literary Winter Crops” and Kierkegaard’s Polemic
  31. Back matter
  32. Abbreviations
  33. List of Contributors
https://doi.org/10.1515/kierke-2020-0001

Articles in the same Issue

  1. Front matter
  2. Title pages
  3. Preface
  4. Contents
  5. Articles
  6. Section 1: Problems and Perspectives in Kierkegaard’s Authorship
  7. Section 1:   Problems and Perspectives in Kierkegaard’s Authorship
  8. A Christian Art? Søren Kierkegaard’s Views on Music and Musical Performance Reconsidered
  9. Between the Two Ethics: Why Assessor Wilhelm is not a Judge
  10. Narrative Variation and the Mood of Freedom in Fear and Trembling
  11. On Fear and Trembling’s Motif of the Promise: Faith, Ethics and the Politics of Tragedy
  12. The Ambiguity of Mimesis: Kierkegaard between Aesthetic Fantasy and Religious Imitation
  13. Know Yourself in the Mirror of the Word: Kierkegaard on Self-Knowledge
  14. „Mein Bestreben, das Martyrium zu verherrlichen…“ Zur Idee des Martyriums in Kierkegaards Journalen ab 1846
  15. Section 2: Kierkegaard’s Sources and Historical Context
  16. Section 2:   Kierkegaard’s Sources and Historical Context
  17. The Faust Project in Kierkegaard’s Early Journals
  18. Of Clairvoyants and Mousvoyants: Kierkegaard’s Polemic against Speculative Philosophy in the “Telegraph Messages”
  19. Section 3: Receptions and Reflections of Kierkegaard’s Thought
  20. Section 3:   Receptions and Reflections of Kierkegaard’s Thought
  21. Does Kierkegaard’s Rewritten Parable of the Good Samaritan Leave the World to the Devil? Kierkegaard and Adorno on What it Means to Love one’s Neighbor in the Modern World
  22. Kierkegaard and Beauvoir: Existential Ethics as a Humanism
  23. Double Consciousness and Despair: Exploring a Connection Between Søren Kierkegaard and W.E.B. Du Bois
  24. Hitchcock Meets Kierkegaard: Selfhood and Gendered Forms of Despair in Vertigo and The Sickness unto Death
  25. Section 4: Kierkegaard’s Authorial Strategies
  26. Section 4:   Kierkegaard’s Authorial Strategies
  27. The Mutiny of the Pseudonyms in the Kierkegaardian Authorship
  28. Section 5: Primary Texts in Translation
  29. Section 5:   Primary Texts in Translation
  30. Johan Ludvig Heiberg’s “Literary Winter Crops” and Kierkegaard’s Polemic
  31. Back matter
  32. Abbreviations
  33. List of Contributors
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