За истината и метода в musica nova на ХХ век (някои общи съображения)
About Truth and Method in New Music of the 20th century. (Some General Considerations)

Summary/Abstract: The subject of this study is the selfreflexivity of New Music (neue Musik) of the first half of the 20th century (Arnold Schoenberg, Anton Webern mainly) and of the Western-European post war avant-garde (Pierre Boulez in particular) from the point of view of the current ideas of its truth content (Wahrheitgehalt) and the current efforts to conceptualize the conditions of involving it in complex processes of radical innovations of styles and musical language (code). The text is constituted as a loose amalgamation of philosophical ideas and of principles of hermeneutics (mainly of Martin Heidegger, Hans-Georg Gadamer and Theodor Adorno) underlying the relationship between New Music and truth in an aesthetic context, radically different from the one, dominated by concepts and “ideas” of art during the age of great speculative philosophy. New Music has been profoundly affected by new concepts of truth, interpreted as a result of an intense struggle against the deceptive forces and general falsehood of (romantic) grande tradition at the beginning of the century. The complexly of modern music amalgamated philosophical principles have been interpreted as a metacritique against the Kantian aesthetic theory. Here the philosophy of modern music is thought in the broadest sense as the conscious interpretative force behind any more or less neatly packaged innovative system and/or methodological “receipt”.

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