Matantys ir girdintys išminčiai: žvilgsnis į epistemologinius Tolimųjų Rytų muzikos estetikos pagrindus

LTStraipsnyje aptariama girdėjimo ir matymo fenomenologija bei jos įtaka muzikinei estetikai. Girdėjimas, kaip tiesiogiškiausias ir mažiausiai abstrahacijos galimybių teikiantis potyris, siejamas su archajinės Kinijos kontekstu, o matymas - su vizualizacija ir abstrahacija, kaip esminėmis "provaizdžio" turėjimo sąlygomis, būdingomis tradiciniam Vakarų mąstymui. Girdintis matymas bei matantis girdėjimas suponuoja ir tam tikrus muzikinės estetikos, gramatikos ir suvokimo fenomenologijos aspektus. Naujųjų amžių Vakaruose dominuojant diferencinei muzikinei kalbai ir atitinkamiems buvimo, darymo, tapimo, ne-buvimo modalumams būdinga naratyvinė reprezentacija. Elitinei Tolimųjų Rytų muzikai, išvengiančiai opozicijų ir operuojančiai "nei tapatybėmis, nei skirtumais", būdingas ritualinio dalyvavimo siekis. [Iš straipsnio, p. 291]Reikšminiai žodžiai: Persismelkimas; Reprezentacija; Retorika; Vizualizacija; Girdėjimas; Ritualas; Daoizmas; Taktilika; Fenomenologija; Semiotika; Autentiškumas; Gesmalumas; Interperetation; Representation; Rhetoric; Visualization; Hearing; Ritual; Taoism; Tactile; Phenomenology; Semiotics; Authenticity; Gestalts.

ENThe article discusses institu tions of "seeing" and "listening" and it's phenom enological implications in philosophy and musical-temporal processes. The paradicmatic ability of Ancient Chinese Sages, according to K. DeWoskin, was "listening". Importance of this abilility is reflected in Chinese character sheng (sage, saint) which has radical er (ear), some similar words related with sagicity and Han musical cosmology, where music, as the most etheral (closest dynamical nature of dao and qi) phenomen on was held in great esteem. Pure listening as a most organic "participating" in being gives much less posibilities for "having" meaning, i.e. abstracting. For this reason sounding music could never be reflection of eidos, in Greek context, but the most "hyletical" of arts. Consequently, music, in Western context was tried to make meaningful by connecting it with abstract knowledge (Medieval Harmony of spheres) or basing it on narrative grammar and representation (New Ages, Romanticism, 20th century). Elite East Asian Music, such as qinconditions very different phenomenology of listening; because of ex-static its time and importance of subtle nuanses ("neither identities nor differences") we could hardly speak about having "meaning", which is acustically and lingvistically based on differences. The aim of "authentic" East Asian music therefore could be compared with the aim of authentic ritual, namely, not with understanding, but "participation". In article is also briefly discussed some tendencies of "ecology" or authentisation in 20lh century Western musical Aesthetics and their relation with its cultural context which conditions very diferent creative phenomelogy and language of Music. [From the publication]