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We often wonder about piano music. And we’re not just wondering because it fascinates us, but because it forces us to ask questions about life and the hidden senses of the sounds. For several times the music fills our lives. But how does it fill it? Many times a poem written by William Sharp or by Michael Shewmaker3 is a question for me as a philosopher. Furthermore, a composed song for piano by Havasi Balázs, makes us think a lot about a poem, or about anything which fascinates our mind. But despite the mind, there are many perceptions which work together to have a right judgement on the perception of the music. If we want to find how the music fulfills our lives with significances, we have to bring a phenomenological method in understanding these meanings. The phenomenology has an unique answer, because it finds out to answer to how the things (these phenomenological objects) are becoming. In this article we will show how the compositions of Havasi Balázs are up to date through the aesthetic sphere of the phenomenology and how they are entities in the phenomenological field of perception nowadays. For these reasons, it seemed essential to us to offer a phenomenological perspective to the symphonies realised by Havasi Balázs. [ABSTRACT FROM AUTHOR]

The ballet can be deconstructed through some mathematized forms as the geometrical lines and trough created symmetries. Once, Paul Klee painted the Abstract Ballet (1937)3 in the manner that some musicians made innovative experiments in the music, or in the same manner as Oskar Schlemmer found a unique form of expression for his Triadisches Ballet. But, there were two types of ballet in the interwar period of the twentieth century between which we can differentiate: the Classical ballet (wich maintains a Romantic line too) and the Avant-garde ballet that appeared through the Triadisches Ballet4 composed by Oskar Schlemmer. Some dancers like Mikhail Baryshnikov brought the ballet in the area of the classic performance, and others as Maya Plise'kaia (the 'prima-ballerina' of the twentieth century) brought the ballet to a classical-romantic line. Apparently, Oskar Schlemmer and Paul Klee wanted to dislodge the corrugations as they may have dislodged a cupboard or a box. I will show in my analysis how ballet can be part of our lives and how its limitation to mathematized forms sometimes has the role of a deconstruction of the expression of the artistic message. In my analysis, I will serve myself of the analysis of Dasein to justify the "becoming" of the dancer [object]ified through the corporal movements and to justify the stage-Space as a place of "being-in-the-world". [ABSTRACT FROM AUTHOR]

We are proposing to situate Maurice Ravel in a refined poetic aesthetic. Our desire is to offer an original philosophical and musicological perspective on Kaddisch, because, personally, this composition determines us to reflect on what is “beyond” Being. We note that there is a particular Hebraic stylistic continuity at the time, and in this sense we also remember Joseph Achron, on the distinguished Hebrew Melody, op. 33. More than that, Yehudi Menuhin devoted himself playing both the composition of Achron and this special composition by Maurice Ravel on the violin. Maurice Ravel composed a part for the liturgical ceremony entitled Kaddish, and critics claim that he did not introduce this song as a novelty, because the composition already existed in the Hebrew tradition. However, behind that, we try to defend Ravel by observing what are the aesthetic-compositional novelties introduced in this beautiful song. Being a mystical song of a man who mourns death but, at the same time, weeps on infinite love, Kaddisch still let us to find various interpretations, whether it is a liturgical text or sheet music. Advancing with the observations along this paper, in the final part of the paper, we made a comparison between Maurice Ravel and Leonard Bernstein’s perspective on Kaddisch. [ABSTRACT FROM AUTHOR]

Long times being left in a penumbra, the violinist Joseph Achron needs a revaluation from the part of phenomenological aesthetic and musicology fields. Following the basic theory of Maurice Merleau– Ponty’s flesh, and few perspectives from Edmund Husserl’s, we demonstrate that insisting on the idea of the inverted plenitude as dehiscence will take us to another level of the perception of the Beauty in ‘Hebrew Melody’, composed by Joseph Achron. The final part of the paper offers to the listener the real possibility to see Beauty’s ingrown/incarnation in the mournfulness “as-itis” – in its dehiscential3 plenitude. The purpose of music must also be to bring us closer to the sufferer’s interior structures, but so that we can see the Beauty that lies in it. To achieve this, more ontic openings are needed, and this phenomenon well-characterized by the term dehiscential. ‘Hebrew Melody, Op. 33’– encompasses a whole world. In sound, pain can be exposed much more easily and much more cleansed of its negative aspects. Sonorous mournfulness is different from mournfulness-in-itself, but similar. At the level of human suffering, the two have the same ontic place. When they are filtered through artistic catharsis or artistic judgments, they receive a sublimated note that cuts the thresholds of the common world. The sounds that break the silence of the Being (in its successive openings), are the sounds that crumble the most, are those that scream so soft, so fragile, but scream. This is what we experience with ‘Hebrew Melody, Op.33’. The touching of the impossible things, the nostalgia for the lost memories, the desire to feel a piece of quietness, the sadness of not being happy, like a ship gone towards the blue horizon, the nothingness lived in a mourn – all these penumbrae of a sad soul which may have lost everything shape in us a beautiful Hebrew canvas, the necessity of a never-ending return to the Hebrew village, its synagogue, and life. [ABSTRACT FROM AUTHOR]

This article has a precise aim -- to develop a deep research in the aesthetic of music and phenomenology of the music. Investigating some traditional sources as Critique of the Pure Reason, and the sources from Johann Sebastian Bach and Antonio Tomaso Vitali, we have observed a natural link between the idea of the 'substance' described by Immanuel Kant and the idea of the 'substance' in violin music. We have transpositioned the idea of the 'substance' in violin music. Even if the work written by Immanuel Kant appears after the signs of the musical Baroque as Bach -- Vitali, we had considered that our perspective would be more interested if we will try to fix a paralogism of the substance in a composition named Chaconne. The Chaconne is a composition specific for the Baroque period, but which is well-known to be the most beautiful and the most complicated to be played for the violinists. There is a mysterious debate related to Chaconne, because due to the Partita no.2 in D minor by Bach, Vitali made it Chaconna in G minor. It has complex chromatic structures able to unify sounds which can express the sadness and human suffering with the most fastes sounds which express the tenderness and the silence, in perfection. For the conscience, there is a symmetry in the Chaconne -- because the 'I' can reach the most painful feelings with the most tender and healing states of the soul through the power of the sounds. Starting with the premise that the sounds have a deeply force for the manifestation of the lived facts of the conscience, we will try to see how Chaconne functions in this way linked by the paralogism of the substance and by the idea of the 'Beauty' of the sound. [ABSTRACT FROM AUTHOR]