Zene és megszólítás (II. rész: Válaszok)
Music and Addressing the Other (Part 2: Answers)

Summary/Abstract: For the musician, the statement "sound is in time" is an insufficient description of reality. Its opposite - namely that it is sound that contains time, the essence of time, the drama of becoming and perishing, of birth and death - he experiences at least as deeply. It is in sound that the musician grasps time. Musical form is the musician's experiment in time-alchemy: an attempt to use sound to distill something out of time that is against the nature of time, an attempt to distill a moment imbued with presence. The present study investigates how successful such an experiment can be through an analysis of the myth of Orpheus. Orpheus enchants all of Hades. As long as his song lasts all agony is suspended; and yet he fails. His failure calls attention to the distance between being enchanted by the second person and being face to face with the second person. That is also the problem of music. In music, however, that moment, tragically cut short in the Orphean myth, can appear with a claim to wholeness. Moment can become whole through word, but only through a word of which Buber's Hassid says: "say the word as if it were you entering the word"; a word in which reality opens up and that is wide enough for our whole being to enter.

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