Az alkalmazott zene hermeneutikája

The Hermeneutics of Applied Music
This study is the result of many years of scientific research and experience as a composer. The aim of the research was that the exploration of self-immolating applied music would contribute to the complex examination of the results of contemporary theater science, and to the scientific analysis of the (sound) layers of the past. I tried to outline a synthesis that starts from the premise that music is a specific signal network created in the dramatic process, and that this signal network is the interpretation of space, dramatic text, acting and presence, a mise en scene if you like in the sense of a broader understanding. I borrowed this method of understanding that can move a wide spectrum from philosophical hermeneutics, and since it is a relatively unexplored research field, the attempt to read music and/or applied music hermeneutically, can also be interpreted as a language-searching and language-creating exercise. The hermeneutical approach to music places the understanding by hearing, the meanings represented by the musical language and the function of application as the object of scientific research. Within a performance, we can understand music from different perspectives: as a quality that carries an effective approach, as a specific function or as legible sound content. The extent to which the music is used outlines the composer's creative and compositional method so that through the music we can also gain insight into the inner processes of creation. In a theater performance, music is a symbolic and language-creating phenomenon. We can aim the understanding this language with the specific method of hermeneutics. With this method, we can take a closer look at many details that, at first sight/listening, where reflection is only possible based on our perceived aesthetic experience behind the harmony of the music and the performance. By examining the discourse between musical texts and forms of expression, we can find perspectives that can be both historical, i.e. tradition-based, and text-centred, or linguistic, in theatre theory.