Още по въпроса за музикалната сюжетност
More on the Question of Musical Narrativity (about the musical sujets)

Summary/Abstract: This article is an excerpt from a larger research project dedicated to the problems of the „sujet thinking“ in music. This research in turn is a continuation of earlier work that dealt (to put it broadly) with the study of certain existential foundations of the musical work. This text is an attempt to show the specificity of narrativity in music; of course, this does not exclude references to the field of literature, where the question of narrative appears to be more satisfactorily developed. In the broadest terms, sujets in music can be divided into existential, technical and /psychological/. The first belong to the thematic sphere, while the second fall into the sphere of the constructive and are related to the self-discovery of the [musical] material. Technical narratives are based on logic and the seemingly predetermined distribution of techniques within the work following propositional logic, while existential narratives are based on a state of being that is also predetermined in its basic features, but which is always realized differently. (So called / psychological sujets are special case and will be discussed separately.) Both types of sujets come together in a point. This so-called „point“ is temporality. Existential narratives relate to being, to human existence in its openness and finitude. More specifically, it relates to the temporal model of human existence and its temporal form. Works based on sujet thinking could also be called ontological, since their goal is to represent human time as mediated by narrativity.

• Details
• Contents