Humane Music and semantic analysis
Humane Music and semantic analysis

Summary/Abstract: In my opinion, music is not just a play with sound or an acoustic stimulus, not just a kaleidoscope of sounds, but art with important anthropological references. As an intense expression of human activity, it has a human and humanistic basis. It is "created" by people and often dedicated to people. And above all, it is created especially for people. It has a deep psychological, spiritual and social dimension.Theoretical research of the last few decades has methodologically revolutionized almost all art sciences. Gradually it became clear thatin the final analysis, not only language itself, but also music constitutes a communicative goal. In their own way, both language and music can be defined as communication systems. Thus, the composer could be compared to a sender who sends a message to the recipient, and how the latter responds provides information to the former. This is how communication takes place between the composerand listener, just as between author and reader. This type of interactional approach creates new challenges for analysis, recognition, evaluation and evaluation.I am deeply convinced that no analysis of a musical work can be successful if one looks at a specific work in isolation, regardless of the artist's biography, his personality or his own spiritual and intellectual universe. Effective semantic analysis assumes many conditions. Firstly, it requires an explanation of the biographical situation in which a given work of art existed. Many compositions were created to order or with specific individuals in mind, with whom the artist had various personal relationships.Important factors here include the specific occasion of its creation, its purpose and the people to whom the work is dedicated. Details of the genesis of a particular piece are equally irreplaceable, as they can provide additional insight into the composition itself, in addition to structure and genesis. In recent years, this type of research on the notes of Gustav Mahler, Arnold Schoenberg, and Alban Berg has led to sensational conclusions.

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