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

the composition's musical integrity. Its purpose is elicitation of pure entities of musical experience, formulation of logical-musical notions and their verifications. One can discern three historical models in the phenomenological interpretation of music. The first wave of phenomenological investigations swept over the German musicology of the 20s of our century. Among the phenomenologists were such well-known scholars as Habs Hersmann, August Hals, Heinrich Schenker and others. The second model of music's phenomenology shifted the interests of the explorers from the ontological entities of a musical composition to the problems of its cognition and construction in the spiritual experience of the listener. The following musicologists of the 50s and 60s represented this trend : N. Hartmann and H. Kurth in Germany; J. F. Sartre, M. Dufrenne, .V. Jankelevitch, and M. Scriabine in France; S. Langer and G. Epperson in America; and R. Ingarden in Poland. The third model of phenomenological analysis of music belongs to our times. One can tentatively term it "inclusive phenomenology". It consists in a discourse on the phenomenology of man's musical consciousness combined with elements of other constructive contemporary models of musicological analysis. Among the modern phenomenologists one should take note of such names as Nicholas Cook, Lawrence Ferrare, Kingsley Price, Alfred Pike, and Joseph Smith. In Russia the phenomenology of music made itself evident at the turn of the century through the works of such aestheticians and philosophers of music as A. Smirnov, K. Cherkas, K. Eigeis, and A. Secketti, but the peak of Russian musical phenomenology was reached in the investigations of A. F. Losev, father of a new dialeciical-phenomenological method of research in musicology. While admitting E. Ilusserl's outstanding deserts and calling him a prodigious person, A. Losev stressed the distinctions between the German thinker's ideas and his own. E. Husserl had formulated in clear terms and returned to the philosopher's longforgotten notion and term of eidos (Gk. form). In E. Ilusserl's phenomenology it is the highest mental abstraction represented, nonetheless, quite visually and independently, bringing philosophy in touch with the realities of being again. E. Husserl, however, got stuck half-way after creating a veritable picture of the phenomenology of eidos and tying to it a system of schematic-arythmological connections instead of categorical-eidetic ones. The aesthetic experience of the "Other" cannot be perceived outside a musicalaesthetic feeling. According to E. Husserl, the "Other" may be interpreted as the spiritual, the personal and the transcendental "Ego", the genuine form of intersubjectivity being bound to the last type. Thanks to intersubjective 56