Abstract
Roman Ingarden’s “Utwor muzyczny i sprawa jego tozsa-mości” (The Musical Composition and the Matter of Its Identity) as well as his other studies concerning different domains of art have for years been an inexhaustible stimulus for diverse considerations on aesthetics.
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Notes
Victor Yuckerkandl, Sound and Symbol, Music and the External World (London 1956), a study almost parallel to Ingarden’s dissertation on the musical composition. Other publications taking up more detailed themes include R. Reti The Thematic Process in Music (London 1961), an excellent supplement to Ingarden’s considerations on the issue of the totality of a musical composition.
D. Cooke, The Language of Music (Oxford 1959), in which the author develops the strongly marked aspect of Ingarden’s study concerning the contents of the sound itself (sound formations).
and D.L. Ferguson Music as Metaphor, The Elements of Expression (1960), as well as E. Newton, The Meaning of Beauty (Harmondsworth 1962), representing an approach to the matter of form and content of a musical composition and a work of art that is identical to the concept of Ingarden.
A description of an aesthetic experience was given in Ingarden [11], 0 poznawaniu dziela literackiego (The Cognition of the Literary Work of Art), in Ingarden [21], 119.
Yuckerkandl, 61.
Ingarden, Studia z estetyki (Studies in Aesthetics), (Warsaw 1958), [23] II, 196.
Cf. Ingarden, “0 poznawaniu dziela literackiego” (The Cognition of the Literary Work of Art), in Ingarden [21], 150–52.
Ingarden [19], Spór o istnienie świata (Controversy over the Existence of the World), 2d ed. (Warsaw 1961), II, 433.
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Pytlak, A. (1989). On Ingarden’s Conception of the Musical Composition. In: Dziemidok, B., McCormick, P. (eds) On the Aesthetics of Roman Ingarden. Nijhoff International Philosophy Series, vol 27. Springer, Dordrecht. https://doi.org/10.1007/978-94-009-2257-0_9
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