Az ellenpont születése - Zeneelméleti jegyzetek Hans Kayser püthagoreizmusához és Tábor Béla dialektika-jellemzéséhez
The Birth of Counterpoint (Music-Theoretical Remarks to Hans Kayser’s Pythagoreism and Béla Tibor’s Approach to Dialectics)

Summary/Abstract: Eggebrecht described music as passion expressed in mathematics. The writer examines the way different tools in music encapsulate the tacit opposition within the above definition: the conflict between number and emotion. He lists a number of tools that can serve as vehicles to express this tension: the rhythm of dance, drums and gongs, the sound of chords in Hans Kayser´s “Tonzahl”-description, sounds at the correct pitch, the harmony between them, and the dialectic exposition hereof: the early counterpoint. The counterpoint is the surface representation of the non-secularized dialectics, which, in Béla Tábor´s, interpretation, comprehends unity “ not as static existence, but as ongoing happening; not as substantiality, but ceaseless splitting into parts, which, though standing in opposition, communicate themselves to each other through the Logos, while, by these very processes, they also reveal themselves as a unity”.

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