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The Piano’s Sound Apperception in Havasi Balázs’s Compositions, with Some Remarks from Alfred Whitehead and Theodore Ziolkowski


In a world full of suffering, the only thing that remains is music. Due to the present situation of the music in our lives and problems of the research in the field of philosophy of the music, it becomes a special priority for us to try to investigate the new sense of the contemporary music. The nature, the sensitive part of our feelings and the perceptions, have made possible the fact that music can be lived. For a deeply examination of the philosophy of Havasi’s symphonies, we should ask ourselves if the essence of the sound becomes a part of our ʽlived worldʼ and if establishes Heidegger’s ʻworldliness of the world’.

Meanwhile, it is an important priority for a philosopher to show how the tradition can be break, even in a phenomenological field of study. Culture helps us to understand the spiritual functions of the music in our lives. We will try to demonstrate in this article why 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 in music and opens a field of research between the aesthetic category of the classic and lived perception. At last, but not least, Havasi remains the most romantic pianist from our times. Due to him, we can return sometimes to innocence and connect ourselves with the inner-lived world through sounds.

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Doxography as cultural posology


The current review analyzes the last editorial issuance of Professor Gabriel Hasmaţuchi. Dedicated with much accent on cultural phenomenology, the author proposes interpretations that develop a binary, alike, contradictory, concurrent, complementary or congruent character. The work has the smell of ancient doxographies being a truly protreptic one, as well as a treaty of cultural posology.

Open access