The symphonies of Anton Bruckner (1824‒1896) were evaluated both during his lifetime and subsequent to his death in terms of two opposing criteria : "absolute music" and "program music", terms that actually reflect aesthetic polemics. Especially since the 1980s, Bruckner scholarship has connected this dichotomy to methodological discussions of autonomic analysis and semantic interpretation. However, the methodological purism being undeniably at stake in both positions comes with the risk of misconceiving the multiple layers of Bruckner's symphonies.
Hence my paper aims at demonstrating that both dimensions—the "purely musical" and the semantic—make up an inseparable unit in Bruckner's music. The third movement of his Ninth Symphony seems particularly suitable for this purpose, since Bruckner himself commented on its "content" on various occasions.
By means of analysis, I seek to demonstrate how thematic ideas being integrated into a broader motivic network throughout the symphony are interlinked semantically. Remarkably, such "semantic networks" are strengthened through thematisch-motivische Arbeit, the technique which is commonly regarded as the "autonomous" principle. Along those lines, the culmination of the movement (mm.187ff.) gains a multidimensional character. In order to understand the related nature of Bruckner's "Doppeldasein"(Korte), the methodological purism ought to be overcome.

特集 : 論集 美学・芸術学 : 美・芸術・感性をめぐる知のスパイラル(旋回)