THE SYNTACTIC AND SEMANTIC DIMENSIONS OF THE MUSICAL LANGUAGE IN KYRIE FROM JOSEPH HAYDN’S HARMONIEMESSE
THE SYNTACTIC AND SEMANTIC DIMENSIONS OF THE MUSICAL LANGUAGE IN KYRIE FROM JOSEPH HAYDN’S HARMONIEMESSE

Summary/Abstract: Starting from the opening (Kyrie) of Haydn’s last opus – Harmoniemesse, the present essay propositions a synthetic model of performance analysis. First enounced by Dinu Ciocan, the analytical model is set in distinct stages of investigation and development: the structuralist approach (principles which derive from the syntactics, semantics, and pragmatism in music) is followed by meanings from connected art fields (religion, philosophy, logics, semantics, visual arts, oratory). This modus operandi focuses at the same time on the non-verbal dimension as well as the heterogenous character of music as art, a step through which the poetics of the music is revealed – meaning the religious character, which is categorized in different stages. Continuing to discuss the theory in this analytical boundary, I will also present a possible application of this psycho-physiological archeology specific to music, which accents the syntactical as well as the semantic dimension of the musical language.

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