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Музыкальное переживание и проблема чувственной очевидности: от эпифании к эмпауэрменту
The article develops the problem of musical experience taken from a
phenomenological perspective and in relation to the music that has developed within the
time of modernity. The specificity of the problem is that the tools of phenomenology depend
on the subject framework provided by music psychology and music sciences. This
epistemological dependence on positivist approaches is complicated by the intensive
processes of radical transformation in the field of music practices, e.g. the progressive
mediatization of music, the growing degree of its experimentalism, and the totality of music
industries. An important feature of the problematics of music phenomenology, and at the
same time a condition of its existence, is the question of the boundaries between noise,
sound, and music. In the premodern era, the demarcation between divine, cultural, and
natural sound is based on cosmological and religious ideas. The modern times in turn
incorporate this demarcation procedure into the very act of musical experience. The main
goal of the article was to redefine the place of musical experience in the structure of
phenomenological knowledge. To achieve it, we turned to the works of the key figures within
the field (Mersmann, Schütz, Ihde, Scruton, Schaeffer). In terms of methodology, we applied
theoretical tools appealing to the history and genealogy of epistemic models, to
phenomenology, and to methods of contemporary culture critical analysis. The study of
phenomenological descriptions of musical experience leads us to the problem of its two
specific kinds: epiphany and empowerment. The article demonstrates the heuristic potential
of these two concepts, as well as the limitations that arise due to their transfer from adjacent
areas of social sciences and humanities. The conclusion of the study is the following: the
modern listening subject has partially lost the possibilities of “pure” musical experience,
having developed the habit of listening for “gaining power” (empowerment). Epiphany, which
in the case of music can take the form of acousmatic listening or the experience of the
musically sublime, leaves the possibility of retaining objectivity to analyze musical
experience from a phenomenological perspective.