THE PIANO’S SOUND APPERCEPTION IN HAVASI BALÁZS’S COMPOSITIONS, WITH SOME REMARKS FROM ALFRED WHITEHEAD AND THEODORE ZIOLKOWSKI
THE PIANO’S SOUND APPERCEPTION IN HAVASI BALÁZS’S COMPOSITIONS, WITH SOME REMARKS FROM ALFRED WHITEHEAD AND THEODORE ZIOLKOWSKI

Summary/Abstract: In a world full of suffering, the only thing that remains is music. Due tothe present situation of the music in our lives and problems of the research in the field ofphilosophy of the music, it becomes a special priority for us to try to investigate the newsense of the contemporary music. The nature, the sensitive part of our feelings and theperceptions, have made possible the fact that music can be lived. For a deeply examinationof the philosophy of Havasi’s symphonies, we should ask ourselves if the essence of thesound becomes a part of our ʽlived worldʼ and if establishes Heidegger’s ʻworldliness ofthe world’.Meanwhile, it is an important priority for a philosopher to show how the traditioncan be break, even in a phenomenological field of study. Culture helps us to understandthe spiritual functions of the music in our lives. We will try to demonstrate in this articlewhy the music of Havasi Balázs is a philosophy of the lived “given facts” and a direct“experience” for the world. He establishes a different classical-contemporary aesthetic inmusic and opens a field of research between the aesthetic category of the classic andlived perception. At last, but not least, Havasi remains the most romantic pianist from ourtimes. Due to him, we can return sometimes to innocence and connect ourselves with theinner-lived world through sounds.

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