Az Eszterházy Károly Tanárképző Főiskola Tudományos Közleményei. 1993. Sectio Philosophica.(Acta Academiae Paedagogicae Agriensis : Nova series ; Tom. 21)
R. A. Telecharova: Music as the language of concord
R. A. TELECI IAROVA MUSIC AS THE LANGUAGE OF CONCORD ABSTRACT: This short paper summarizes the author's results in the researches of the phenomenology of music. Phenomenology involved a revolution in musicology. In the past, music-aestheticians investigated musical composition as such. Phenomenology of music, however, is based on the phenomenology of musical thought. The author discerns three historical models in the phenomenological interpretation of music. The paper stresses significance of one of these models, A. F. Losev's lifework in Russian phenomenology of music. Following Losev the paper emphasizes the int er subject ive humanistic content of music, arguing that the aim of music education is to instill beauty and concord. Never in human history, perhaps, has there been a greater need for a common language than today. Music is the language that transcends words and may come in useful as the language of concord. The phenomenology of music as a leading trend in musicology is capable of making for a universal realisation of the feeling of concord among humankind. The founder of phenomenology Edmund IIusseiTs revelations have acquired special relevance for the philosophy of music nowadays. In the past musicologists' theoretical interests were centered on the musical composition as such; now the "unnaturalness" of the phenomenological analysis of music consists in the object of thought being the immanent word of man's musical consciousness, in those sets of musical thought that constitute the music's content. When the analyst is no more than an objective observer, his musical consciousness is aimed at eliciting pure entities, emotions being shifted to the background. The natural orientation of consciousness to the background. The natural orientation of consciousness consists in objective observation. The phenomenological orientation of man's musical consciousness is elicitation and investigation of constitutive elements of musical cognition. The phenomenology of music is based on the phenomenology of musical thought. However, it has to do not with the empirical musical experience but with the musical experience conceived and analysed in the essential universality. The basis of phenomenological analysis in musicology is intention understood as orientation of man's musical consciousness at the generalised object. Phenomenological analysis in music is an analysis of the emotional conception of 55
