امر والاي كانتي در موسيقي بتهوون

Kant's greatness in Beethoven's music

ايمانوئل كانت اولين فيلسوف دوران مدرن در غرب بود كه نظريۀ هنرها را در طرح فلسف ياش جاي داد. او در كتاب نقد قوۀ حكمش به بررسي هنرها مي پردازد. او در اين بررسي در باب موسيقي نيز به طور مستقيم نظرياتي را ارائه مي دهد، اما اين مسأله باعث مي شود كه نتواند جايگاه مشخصي را براي موسيقي در نظام زيبايي شناس ياش بيابد. براي او موسيقي گاهي ارزشي پائين دارد و گاه در زمرۀ هنرهاي زيبا محسوب مي شود. تعليق جايگاه اين هنر به واسطۀ عدم قطعيت كانت در تصميم گيري هايش در مثالهايي كه براي گسترش و وضوح تعاريف نظام زيباي يشناس ياش م يآورد شكل ميگيرد. هرچند خود كانت نيز اشاره م يكند كه اين تقسيم بندي آزمايشي است. علي رغم نظريات مستقيم كانت در باب موسيقي، كليات ارائه شده در باب داوري اثر هنري او، معياري بسيار ارزشمند در ارزشگذاري موسيقي را به دست مي دهد. به گونه هاي كه موسيقي مي توان هم امر زيبا باشد و هم در مواردي، امر والا را القاء كند. مقالۀ حاضر مي كوشد تا با تأكيد بر آراء كانت نشان دهد چگونه و چه نوع موسيقي اي مي تواند امر والا را تداعي كند، براي اين امر از برخي آثار بتهوون كمك گرفتيم.

Immanuel Kant was the first philosopher in modern area who included art theories in his philosophy, in his great work “critique of judgment” he talked about beauty, sublime, and also about that how is pure judgment of beauty is possible, and also he talked about different art in his critique of judgment and during those discussion he gave a classification of fine art, and determined different places for different art. But at this classification, his theory could not adjust with his example, specifically in music. It seems that he could not apply his theory for his example, so his theory could not help him to give well- defined place to music, in his aesthetic sometimes music is a low art and sometimes is fine art for him. But if we don’t consider his classification and directly apply his aesthetic rules from his aesthetic, it gives us a very ideal model to music and once again determine music place in Kant system, we can show it in master pieces in music from composing to the judgment and can adjust them with Kant theory. At this article we are going to talk about music and sublimity, for this we are going to apply Beethoven music, because the art of music made through Beethoven we may define it as the winning of faculty withheld from his before. Some critic had used the word “sublime” about his music. They do agree that his music open the realm of colossal and immeasurable and lead the listener away into the wonderful spiritual realm of infinite. at this article, at the first part we are going to talk about sublime and contain sublime, and then we are going to talk about sublime in art then we will continue with sublime in music, and we will show that what is music sublimity? Is music sublimity depend on the length of score or it depends on the strength of sound? an‎d we will talk about how sublimity can convey during music and will show that music sublimity is not just about the length and sound loudness of music. In Kant idea, sublime, just show our transcendental dimension, and shows us our material world limitation. Beethoven in his work show these two characteristic by applying dissonant interval and using and emphasizing on that, and with unconventional jumping, and also using pedal notes. It seems that he wants to show us, our limitation in material world and awareness of exiting our transcendental dimension, and he wants to open the infinite to us. In this article we study on Beethoven tempest sonata and some symphony, and will show how Kant idea can show itself in Beethoven music .