Papers by Francisco Aranda Espinosa
The Musical Subconscious: from Mozart to Rossini, Metamorphosis of a Coloratura, a Compendium of Musical and Psychological Appreciation, 2024
Introduction: This presentation delves into the profound relationship between coloratura, as a mu... more Introduction: This presentation delves into the profound relationship between coloratura, as a musical ornamentation, and the concept of Musical Subconscious, particularly focusing on the works of W. A. Mozart and G. Rossini. Methodology: Through the interdisciplinary lenses of philosophy and psychology, we aim to uncover the connections that exist within the human mind when exposed to intricate musical compositions. Results: Our objectives are to elucidate the role of memory, emotion, and creativity in shaping the musical experience, to analyze the distinct manifestations of the concept of musical subconscious in Mozart's and Rossini's compositions, and to explore the implications of psychology and philosophical-musical aesthetics of reception on our understanding of coloratura's impact. Conclusion: It is summarized that in this psychic symphony, the genius of Mozart and Rossini resonates like an echo that transcends not only space and time, but also the logos itself.
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La música: entre lo real y el tiempo, una poética de lo inefable -una filosofía de la música de Bergson a Jankélévitch Music: between the Real and Time, a Poetics of the Ineffable -a Philosophy of Music from Bergson to Jankélévitch, 2024
Introducción: Este texto analiza las concepciones filosóficas de Henri Bergson y Vladimir Jankélé... more Introducción: Este texto analiza las concepciones filosóficas de Henri Bergson y Vladimir Jankélévitch sobre el tiempo y la música. Bergson destaca la intuición y la duración temporal como medios para comprender la realidad, mientras que Jankélévitch se centra en lo inefable musical y el silencio como reveladores de lo real. Metodología: El estudio aborda la filosofía de ambos autores, explorando cómo la música, al ir más allá del logos, revela aspectos esenciales del tiempo y de lo incomprensible. Se comparan sus teorías sobre la relación entre el tiempo, la música y la realidad. Resultados: La música es presentada como una articulación entre el tiempo y lo real, una experiencia que no debe ser descrita, sino vivida. Jankélévitch compara la música con el amor y la existencia, destacando su carácter inefable e irreductible al lenguaje verbal. Discusión: Ambos filósofos sugieren que la música revela aspectos esenciales de la existencia que no pueden agotarse con palabras. El silencio es la respuesta adecuada, permitiendo que lo otro se manifieste. Conclusiones: La música, como una experiencia irreductible al lenguaje, construye una filosofía de la existencia. Insistir en describirla con palabras puede ocultar su verdadera esencia.
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LA FLAUTA DE DIONISOS O LA SABIDURÍA DE LA TRAGEDIA EN LA MÚSICA: UNA FILOSOFÍA POLIFÓNICA EN TORNO AL PENSAMIENTO DE FRIEDRICH NIETZSCHE, 2024
Friedrich Nietzsche's philosophy stands out for being singular, untimely, and Dionysian, in contr... more Friedrich Nietzsche's philosophy stands out for being singular, untimely, and Dionysian, in contrast to Hegelian dialectics. For Nietzsche, music is fundamental in his thought, expressing viscerally the complexity of human existence and the will to power. Through his musical reflections, especially in those related to Richard Wagner, Nietzsche delves into key concepts such as the will to power, the eternal recurrence, and the übermensch. Although he initially admired Wagner as his mentor, Nietzsche distanced himself from him due to their ideological and aesthetic differences. This break with Wagner symbolizes Nietzsche's independence and his rejection of adhering to pre-established systems. We are sure that Nietzsche's musical meditations offer a unique perspective on his philosophy, exploring life from an aesthetic and affirmative approach, beyond traditional ethics and morality.
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Wolfgang Amadeus Mozart La flauta mágica: Un acercamiento a la música, la religión y al misterio de lo inefable, 2023
This philosophical essay addresses a speculative and interdisciplinary
analysis of the opera "The... more This philosophical essay addresses a speculative and interdisciplinary
analysis of the opera "The Magic Flute" by
W. A. Mozart, K. 620, premiered on September 30, 1791,
at the Theater auf der Wieden in Vienna, Austria. We say
that the approach of this writing is interdisciplinary because
it combines musical analysis with hermeneutics,
history, and the philosophy of music to provide the reader
with a broader understanding of the context, plot, libretto,
and operatic musical cosmos, which inherently possesses
the characteristics of multidisciplinarity. "The Magic
Flute," belonging to the German singspiel genre, arises
from the philosophical, musical, and ideological collaboration
between Mozart and Emanuel Schikaneder, colleagues
in the Masonic lodge "La Beneficencia," who, in the period
from 1790 to 1791, were experiencing economically challenging
times. Through these lines, a reading of the opera
will be proposed based on its musical composition, libretto,
plot, religious ideas, social and historical context, and
the implications thereof, leading to a philosophical reflection
that will not aim to find an absolute truth but rather
attempt to invite the reader to delve into the profound
connections that
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De la experiencia musical como afirmación, un paradigma de estética:Diecisiete apostillas aforísticas sobre la Música Absoluta, 2024
This essay questions various theories of musical under-standing, from idealistic approa... more This essay questions various theories of musical under-standing, from idealistic approaches to the imposition of linguistics on music. Through seventeen aphoristic com-mentaries, the text explores music's relationship to lan-guage, the musical absolute, opera, and expression in music. The notion of the musical absolute is discussed in relation to vocal, instrumental and programmatic music. Perspectives from Stravinsky, Mozart, Kant, Nietzsche and Lévi-Strauss are considered. Music is presented as me-ta-lexical and not directly expressive of human ideas, so that musical aesthetics is reversed, emphasizing music's capacity for self-expression without the need for words. Finally, the autonomy of music is defended and its adapta-tion to the modes of contemporary life is questioned
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Ingmar Bergman y la pregunta por lo sagrado. Lo teatral en el cine, una aproximación de la imagen y el movimiento, 2023
Ingmar Bergman y la pregunta por lo sagrado.
Lo teatral en el cine, una aproximación de la imagen... more Ingmar Bergman y la pregunta por lo sagrado.
Lo teatral en el cine, una aproximación de la imagen y el movimiento
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La afirmación incondicional del héroe trágico Apuntes sobre el Tannhäuser de Wagner, propuesta de una tragedia musical., 2023
La afirmación incondicional del héroe trágico Apuntes sobre el Tannhäuser de Wagner, propuesta de... more La afirmación incondicional del héroe trágico Apuntes sobre el Tannhäuser de Wagner, propuesta de una tragedia musical. The unconditional affirmation of the tragic hero Notes on Wagner's Tannhäuser, proposal for a musical tragedy.
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Bajo el signo del Grial, un mito de redención, meditaciones sobre arte, sensorialidad y psicoanálisis , 2024
Bajo el signo del Grial, un mito de redención, meditaciones sobre arte, sensorialidad y psicoanál... more Bajo el signo del Grial, un mito de redención, meditaciones sobre arte, sensorialidad y psicoanálisis About the Mystery of the Grail, a Myth of Redemption.
Meditations on Art, Sensoriality and Psychoanalysis
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Sobre la música como un metalogos, expresión inmediata de lo sensible, 2023
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Cadernos da Relem 2024, no. 1, 2024
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GENEALOGÍA DEL PECADO Y EL PERDÓN EN STIFFELIO DE VERDI, UN LEITMOTIVE ENTRE LA MÚSICA, LA RELIGIÓN Y LA HERMENÉUTICA GENEALOGY OF SIN AND FORGIVENESS IN VERDI'S STIFFELIO, A LEITMOTIF BETWEEN MUSIC, RELIGION ND HERMENEUTICS, 2024
This philosophical essay delves into the genealogy of sin and forgiveness in Giuseppe Verdi's ope... more This philosophical essay delves into the genealogy of sin and forgiveness in Giuseppe Verdi's opera Stiffelio, emphasizing the composer's skill in crafting complex characters and expressing emotions through music. Verdi is defended as an inspired creator, drawing from significant literary works of his time. His bold exploration of social and ethical themes showcases a profound understanding of the human condition, transcending stereotypical images associated with his origins.
Keywords: sin, forgiveness, opera, philosophy
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Orfeo y la armonía celestial, de Jáuregui a Ovidio: filosofía, música y poesía, 2024
RESUMEN Este análisis se centra en el poema épico Orfeo, de Juan de Jáuregui, explorando su conex... more RESUMEN Este análisis se centra en el poema épico Orfeo, de Juan de Jáuregui, explorando su conexión con el mito clásico. Se destaca la importancia de la lira dorada del protagonista, poseedora de propiedades divinas. El artículo explora el mito de Orfeo, su viaje a Egipto, y su trágico encuentro con Eurídice. La cítara se presenta como defensa y medio de redención. Se analiza el poema de Jáuregui, destacando su estructura, culteranismos gongorinos, y la distancia con la versión ovidiana. La figura de Orfeo como encantador se vincula con la música de las esferas y otros conceptos pitagóricos. Se concluye mencionando el legado órfico desde Grecia hasta Roma, y el escepticismo de filósofos como Platón y Aristóteles.
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Tragedia y Nihilismo. La modernidad operística en Parsifal vs. Carmen, 2019
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Metamúsica, 2019
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Books by Francisco Aranda Espinosa
Compilación de Investigaciones en Ciencias de la Educación Enseñanza y Aprendizaje , 2024
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La Edad Media en la Ópera, 2018
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Papers by Francisco Aranda Espinosa
analysis of the opera "The Magic Flute" by
W. A. Mozart, K. 620, premiered on September 30, 1791,
at the Theater auf der Wieden in Vienna, Austria. We say
that the approach of this writing is interdisciplinary because
it combines musical analysis with hermeneutics,
history, and the philosophy of music to provide the reader
with a broader understanding of the context, plot, libretto,
and operatic musical cosmos, which inherently possesses
the characteristics of multidisciplinarity. "The Magic
Flute," belonging to the German singspiel genre, arises
from the philosophical, musical, and ideological collaboration
between Mozart and Emanuel Schikaneder, colleagues
in the Masonic lodge "La Beneficencia," who, in the period
from 1790 to 1791, were experiencing economically challenging
times. Through these lines, a reading of the opera
will be proposed based on its musical composition, libretto,
plot, religious ideas, social and historical context, and
the implications thereof, leading to a philosophical reflection
that will not aim to find an absolute truth but rather
attempt to invite the reader to delve into the profound
connections that
Lo teatral en el cine, una aproximación de la imagen y el movimiento
Meditations on Art, Sensoriality and Psychoanalysis
Keywords: sin, forgiveness, opera, philosophy
Books by Francisco Aranda Espinosa
analysis of the opera "The Magic Flute" by
W. A. Mozart, K. 620, premiered on September 30, 1791,
at the Theater auf der Wieden in Vienna, Austria. We say
that the approach of this writing is interdisciplinary because
it combines musical analysis with hermeneutics,
history, and the philosophy of music to provide the reader
with a broader understanding of the context, plot, libretto,
and operatic musical cosmos, which inherently possesses
the characteristics of multidisciplinarity. "The Magic
Flute," belonging to the German singspiel genre, arises
from the philosophical, musical, and ideological collaboration
between Mozart and Emanuel Schikaneder, colleagues
in the Masonic lodge "La Beneficencia," who, in the period
from 1790 to 1791, were experiencing economically challenging
times. Through these lines, a reading of the opera
will be proposed based on its musical composition, libretto,
plot, religious ideas, social and historical context, and
the implications thereof, leading to a philosophical reflection
that will not aim to find an absolute truth but rather
attempt to invite the reader to delve into the profound
connections that
Lo teatral en el cine, una aproximación de la imagen y el movimiento
Meditations on Art, Sensoriality and Psychoanalysis
Keywords: sin, forgiveness, opera, philosophy