Muzyczna ars interpretandi w kontekście hermeneutyki ogólnej Marii Piotrowskiej
The musical 'ars interpretandi' within the context of Maria Piotrowska’s general hermeneutics

Summary/Abstract: In pursuing her research, Maria Piotrowska sought to elaborate a model for interpreting the musical work from the perspective of a general hermeneutics, understood as the strict correlation between theory and practice. For Piotrowska, those two categories were one and the same, yet in her considerations she placed greater emphasis on hermeneutical praxis,which, evolving in a spontaneous way, drew mainly on the researcher’s curiosity. Yet does that suffice? Should the ongoing process of comprehension be based solely on something that is methodologically undefined? For Piotrowska, that was possible especially when the human mind, in a natural way, aspired to a profound and cogent interpretation, which could In pursuing her research, Maria Piotrowska sought to elaborate a model for interpreting the musical work from the perspective of a general hermeneutics, understood ad the strict correlation between theory and practice. For Piotrowska, those two categories were one and the same, yet in her considerations she placed greater emphasis on hermeneutical praxis,which, evolving in a spontaneous way, drew mainly on the researcher’s curiosity. Yet does that suffice? Should the ongoing process of comprehension be based solely on something that is methodologically undefined? For Piotrowska, that was possible especially when the human mind, in a natural way, aspired to a profound and cogent interpretation, which could dispense with methodological awareness. In the longer term, however, such a procedure might show a tendency to create an illusory reality. That could be averted by creating a‘central sensible whole’, which could be grasped partly thanks to a hermeneutic canon, to which Piotrowska ascribed integrity, sense and meaning, phronesis and sophia, prejudice, the circle, understanding, inner form, language and horizon.

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