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Music in German PhilosophyAn Introduction$
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Stefan Lorenz Sorgner and Oliver Furbeth

Print publication date: 2011

Print ISBN-13: 9780226768373

Published to Chicago Scholarship Online: March 2013

DOI: 10.7208/chicago/9780226768397.001.0001

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(p.211) Gadamer
Music in German Philosophy

Beate Regina Suchla

University of Chicago Press

This chapter examines the biography of Hans-Georg Gadamer and explores his particular thoughts on musical philosophy. Gadamer was born on February 11, 1900, and on March 13, 2002 he was honored with numerous prizes, among them the Reuchlin Prize of the City of Pforzheim and the Hegel Prize of the City of Stuttgart. For his understanding of art, the three concepts—play, composition, and contemporaneity or simultaneity—were constitutive. His hermeneutic position attracted and continues to attract widespread attention among scholars, ranging from agreement, to criticism, to reception. Additionally, his interpretation of art as a phenomenon that belongs to epistemology rather than to the world of practice meant that for him it can be a means of cognition and the expression of cognition, i.e. a means of truth. Gadamer's Truth and Method had a powerful effect on the philosophy of art and on literature and theology.

Keywords:   Hans-Georg Gadamer, musical philosophy, philosophy of art, play, composition, contemporaneity, simultaneity, cognition, Truth and Method

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