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Freedom\nand Necessity. And Music
\nIn his lectures\non art in 1823\, Hegel claimed that the elemental force of great music has to do\nwith the way we hear in it the struggle between freedom and necessity. It&rsquo\;s a\nnice turn of phrase\, but what would it mean in Hegel&rsquo\;s terms and in general for\nus to &ldquo\;hear&rdquo\; such a thing? To get a grip on Hegel&rsquo\;s turn on phrase requires us\nto understand how Hegel thinks that art is not a fully conceptual grasp of what\nit is to be a &lsquo\;minded&rdquo\; (geistig) creature\, but it is also nonetheless not a\nnon-conceptual grasp of mindedness\, and part of that has to do with Hegel&rsquo\;s\nassertion that thought is &ldquo\;embodied&rdquo\; in a work of art. To understand that\nassertion\, we need to understand another of Hegel&rsquo\;s assertions in the lectures\non music that the &ldquo\;being of the subject is in time.&rdquo\; Thus\, to understand what\nHegel was claiming in his lectures on music\, we need to have some appraisal of\nhow he thought the struggle between freedom and necessity was to be resolved\nwithin his own philosophy\, why that had something non-trivially to do with the\ntemporality of human agency\, and what any of that has to do with music. To make\nthat argument\, I will look at the one piece of music Hegel discusses at length\n&ndash\; Mozart&rsquo\;s opera\, Don Giovanni &ndash\; to work out what his own argument for the\nrelation between freedom and necessity has to be.
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