Гюнтер Штерн-Андерс как философ музыки: от критики «оптической» феноменологии к акустическому стереоскопу

Метаморфозис. 2026. Т. 10. № 3. С. 51–77.

Ganzha A. G., Жиганов М. Д.

The article is dedicated to the memory of our colleague, philosopher, and music

enthusiast Tatyana Yuryevna Sidorina. It presents an outline of the intellectual

biography and musical-philosophical views of the German thinker Günther

Stern-Anders (1902–1992), focusing on a period in the first half of the 1930s, when

Anders attempted to present his second, habilitation dissertation, ‘‘Philosophical

Research into Musical Situations’’ (Philosophische Untersuchungen über

musikalische Situationen, 1931), written under the supervision of Paul Tillich.

During the discussion of the dissertation, he failed to receive support from

Theodor Adorno and permanently abandoned the idea. The article analyzes

individual points of the dissertation in the context of Anders’s other works on

music, including sociological works and reflections in the genre of early proto-

media theories. This article demonstrates that the fragmented nature of Anders’s

musical-philosophical legacy serves as a screen behind which one can discover

Anders’s commitment to phenomenological principles. Anders’s choice of the

concept of the ‘‘musical situation’’ was not arbitrary, but rather an antidote to

prejudices in the production and evaluation of listening. The article demonstrates

how Anders’s sporadic engagement with the auditory sphere nonetheless allows

us to trace the evolution of his musical-philosophical principles

Keywords: философия музыки, philosophy of music, Теодор Адорно, Theodor Adorno, Günther Anders, musical phenomenology, musical situation, being-in-music, Гюнтер Андерс, музыкальная феноменология, музыкальная ситуация, бытие-в-музыке