Причастност и музикална цялост в творчеството на А. Б. Маркс
Antheil and Musical Wholeness in the Work of A. B. Marx

Summary/Abstract: A major theme in Adolf Bernhard Marx’s work is the idea that music has sense only to one who “participates” in it. According to Marx, musical Antheil – i.e. participatory belonging-to – is at the foundation of every musical activity, such as composing, performing, or listening (including listening analytically and critically), in its authenticity. The German word “Ant(h)eil” reflects on the participatory nature of this relation – the person or I, who relates to music, “has a part” in music, is fundamentally partial to it. In Marx’s thought, musical Antheil embraces both the spiritual and the sensual part of the person, i.e. it engages the totality of the person. Conversely, music also has an “inner”, spiritual side, its content or Idee, and an “outer”, sensual side, its form. The musical whole is, according to Marx, the unity of musical content and form, which, however, always involves the Antheil of the I to this given whole. Thus, Antheil is a fundamental aspect of musical wholeness itself – it is only within the I, which participates in music and is “partial” to it, that music can be “whole”. Thus, Marx’s account of musical Antheil is arguably a reflection of what in the following text is called musical identification – the living, immediate state of identification between the I and music. Musical identification is a primary condition for understanding musical content and, by extension, musical form. Musical wholeness is not just a characteristic of music itself, but a characteristic of the relation between the I and music.

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