Acceso usuarios
Stefano Oliva
In spite of its limited influence on Italian Aesthetics, Luigi Pareyson’s Aesthetics. Theory of formativity is often cited in the contemporary debate about Aesthetic of music. In this paper I will present the context and reception of Pareyson’s theory of formativity, one of the main post-Crocian aesthetic theories. Then, I will introduce some of the key concepts of Pareyson’s Aesthetics as person, form and interpretation; at last, I will show the relevance of these concepts for issues such as: musical gesture, improvisation, written and not written music, musical ontology. Although these terms are rooted in Pareyson’s existentialist and hermeneutic background, quite far from contemporary philosophy of music, they seem to offer valuable tools to think the musical experience as a dynamic process, as an activity which «while it is doing, invents the way of doing».
