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On Bruckner and Ideology

Hektor King Tak Yan
International Review of the Aesthetics and Sociology of Music
Vol. 47, No. 1 (June 2016), pp. 87-108
Stable URL: http://www.jstor.org/stable/43869455
Page Count: 22
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
On Bruckner and Ideology
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Abstract

Since the 1990s, claims that Anton Bruckner has been 'appropriated' or 'annexed' by the Third Reich have surfaced among a number of scholarly works. With reference to contributions by Benjamin M. Korstvedt and other writers in this field, this article first discusses why the possible connections between Bruckner and the Nazis deserve our attention. After that, it offers a critical evalution on an attempt to separate ideological elements from musical criticism in the study of Bruckner. This paper then turns to examine the view that there are immanent qualities in Bruckner's symphonies that explain why the Nazis were particularly taken with them. Od 1990-ih brojna znanstvena djela privlače našu pozornost na moguće veze između Antona Brucknera i Trećega Reicha. Dok takva djela sadrže rasprave koje se protežu od različitih izdanja Brucknerovih djela do konstruiranja Brucknerove glazbene osobnosti, ovaj se članak fokusira na određene izjave u smislu da su Brucknera nacisti ‘prisvojili’ i ‘anektirali’. Prvo se ispituju važna zapažanja i argumenti što ih nude Benjamin M. Korstvedt i drugi vodeći autori u tom području. Nastavlja se ispitivanjem pokušaja Juliana Hortona da se u proučavanju Brucknera odvoje ideologijski elementi od glazbene kritike. Autor dokazuje da se Hortonov vlastiti stav temelji na pozitivističkim pretpostavkama i da stoga nije ideološki neutralan. Rasprava se dalje nastavlja stavom o gledištu da u Brucknerovim simfonijama postoje imanentne kvalitete koje su pridonijele posebnoj naklonosti nacista da vole njegova djela. Članak se završava tvrdnjom da slučaj Brucknera pokazuje kako ideologijska dimenzija u glazbenoj recepciji ostaje neophodnom za pravilno razumijevanje umjetničkih djela i njihovih stvaralaca.

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