Abstract

In a subject-philosophical perspective, a musical work embodies the creativity of a subject that has become a construction. As a temporal movement itself, it first expands internally sound-temporally as well as sound-spatially: in the form of an invented succession of tones and, derived from this by negation, also of a simultaneity of sounds (level 1). The content of this imagined temporal-spatial formation can be individual associations, feelings, sensations, moods and atmospheres, which can be conceptually interpreted as musical units (level 2). If the subjectively imagined musical units are then also successfully objectified in the musical material of the external world, the subject realizes and changes itself in it as a tonally individual expression of itself (level 3).