Philosophy, Literature and (A)Tonal Music as Ingredients of Spectral Music. When the Hills are tossing black Shadows

Abstract

Encountering the deciphering function of the imaginary in some cultural/musical paradigms - which should create an unpredictable link between signified and significant - refers to theatrical distance (Brecht), to super-signs, to the density surplus of contents. I refer to a possible translation of this function in the act of creation, to closeness to the composition project When the Hills are Tossing Black Shadows (its original title is Stets wenn die Hügel werfen schwarze Schatten) signed by this study’s author. Appealing (during this project) to spiritual sources with a general reflective consistency aimed at suggesting a finding - the vocation of human existence in the specifically musical expression. However, a real penetration into the semantic space of the work’s expression is not possible if the conditions and intention types are neglected, through which questions are asked (answers given), so that meaning cannot be stopped. I think that this is the paraphrase of the generic title of my analysis, but it also mirrors the composition’s generative reason: an open opus - the hyper-statement in which the receiver turns to a collaborator to the text’s polysemous life.