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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]

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]