Harry Lehmann studied physics at the Saint Petersburg State University. After receiving a master’s degree in physics and mathematics, with further philosophical studies in Berlin, he earned a doctorate at the University of Potsdam with a dissertation on a systems theoretical art philosophy entitled The Fleeting Truth of Art. Aesthetics After Luhmann, München: W. Fink 2006. In 2008, with a thought experiment on the digitalization of New Music, he provoked a heated discussion, which is documented in the Kreidler/Lehmann/Mahnkopf: Music, Aesthetics, Digitalization – A Controversy, Hofheim: Wolke 2010. Most recently as editor and author, he published the collection of essays Autonomous Art Criticism, Berlin: Kulturverlag Kadmos 2012. One can find more information about the author on his website: www.harrylehmann.net.
Music philosophy is, like Art philosophy, not a well-established academic discipline. It shows up sporadically, specifically when there have been decisive changes in the musical practice and when it has been important to conceive anew the definition of music. This was the case when the symphony orchestra was established over two hundred years ago as a formative musical genre, and also happened one hundred years ago, with the abandonment of tonality. The event, which now draws philosophical interest to music, is the digital revolution. It brings the idea of New Music, and its genuine artistic ambitions, into question.
Vor dem Gespräch erklingt die Komposition von
Leah Muir, In the reflecting pool, Washington D.C. 1963 for percussion solo and ipad
Adam Weisman, Percussion