RTV Theory and Practice - Special Issue

important characteristics of the performance of Frederick Chopin’s Sonata in B minor. It is obvious that, instead of this example, Ingarden could have chosen апу other work by апу other composer. It is our intention to mention all six characteristics in the same order used by Ingarden and to the degree to which they are relevant for our study. According to this Polish phenomenologist, ”Every performance of a musiccai work is a specific individual flow (process) which develops in time and which is uniquely situated in time. The piece begins at a particular moment, takes place within a certain measurable intenval, and ends at a particular moment’ 3 i l This is the first characteristic of a performed piece of music, as Ingarden sees it The second characteristic relates to the fact that ”every performance of a musical work is, above all, an acoustic process” 4 . The third characteristic is defined as a performanc „situated in space at the same time both and ’ s. H ere Roman I ngarden understands ”objectivelv” to mean that the sound waves created during the performance of a musical work ”separate from each other in space”, and consequently take possession of ”a certain part of space’ 5 ; ”phenomenologically” in this context is interpreted as something coming forth in a certain space and being perceived by the listener. The fourth characteristic logicallv develops form the third. In other words, ”every performance of a musical work is given to us through the process of listening, that is, a multitude of audible perceptions which uninterruptedly flow into each precisely these perceptions, Roman I ngarden considers, which constitute ”the fundamental perception of a musical work” (its concretisation). The fifth

3 Ibid, p. 476. ■> Ibid., p. 477 s Ibid., p. 477 8 Ibid , p. 477 7 Ibid , p. 478

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