Музикалният глас, или защо музикантът не може да бъде релативист
Musical voice or why a musician could not be a relativist

Summary/Abstract: The paper is an attempt to outline the content of the term “musical voice” in a coordinate system defined by a Western axis (Boethius’ interpretation of vox) and an Eastern axis (the interpretation of φωνή in Byzantine music treatises). Methodologically, the mode of phenomenology was chosen, which directly refers to the voice as a thing that gives access to man. Musical meaning encased within musical voice differs from the meaning of the voice as such, which searches and finds expression in speech. For this reason, speaking of the voice of the word, the scope and the content of the term ‘logos’ is chosen more often than not that cements the relations of the logos with speech and vice versa, the musical voice the meaning of which lies in the so-called harmonious difference, leads to a broader content of the term ‘logos’. This content is not drawn from this or that meaning of the broader scope of the term, but rather reveals itself in the interrelation between the meanings. This allows for overcoming the hoary cliché that music, being non-conceptual, is also logosless, i.e. for elucidating its logos nature and absolute character and thus answering the question as to why a musician could not be a relativist.

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