University of KentuckyUKnowledge

Theses and Dissertations--Music Music

2015

BASIC FUNDAMENTALS OFPHENOMENOLOGY OF MUSIC BY SERGIUCELIBIDACHE AS CRITERIA FOR THEORCHESTRAL CONDUCTORLucia MarinUniversity of Kentucky, luciamarinmarin@yahoo.es

This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses andDissertations--Music by an authorized administrator of UKnowledge. For more information, please contact UKnowledge@lsv.uky.edu.

Recommended CitationMarin, Lucia, "BASIC FUNDAMENTALS OF PHENOMENOLOGY OF MUSIC BY SERGIU CELIBIDACHE AS CRITERIAFOR THE ORCHESTRAL CONDUCTOR" (2015). Theses and Dissertations--Music. Paper 41.http://uknowledge.uky.edu/music_etds/41

STUDENT AGREEMENT:

I represent that my thesis or dissertation and abstract are my original work. Proper attribution has beengiven to all outside sources. I understand that I am solely responsible for obtaining any needed copyrightpermissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is notpermitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File.

I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now orhereafter known. I agree that the document mentioned above may be made available immediately forworldwide access unless an embargo applies.

I retain all other ownership rights to the copyright of my work. I also retain the right to use in futureworks (such as articles or books) all or part of my work. I understand that I am free to register thecopyright to my work.

REVIEW, APPROVAL AND ACCEPTANCE

The document mentioned above has been reviewed and accepted by the students advisor, on behalf ofthe advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; weverify that this is the final, approved version of the students thesis including all changes required by theadvisory committee. The undersigned agree to abide by the statements above.

Lucia Marin, Student

Professor John Nardolillo, Major Professor

Dr. David Sogin, Director of Graduate Studies

BASICFUNDAMENTALSOFPHENOMENOLOGYOFMUSICBYSERGIUCELIBIDACHE

ASCRITERIAFORTHEORCHESTRALCONDUCTOR

_______________________________________________DISSERTATION

_______________________________________________

AdissertationsubmittedinpartialfulfillmentoftherequirementsforthedegreeofDoctorofMusicinthe

SchoolofMusicattheUniversityofKentucky

ByLucaMarn

Lexington,KentuckyDirector:JohnNardolillo,ProfessorofConducting

Lexington,Kentucky2015

CopyrightLucaMarn2015

ABSTRACTOFDISSERTATION

BASICFUNDAMENTALSOFPHENOMENOLOGYOFMUSICBYSERGIUCELIBIDACHE

ASCRITERIAFORTHEORCHESTRALCONDUCTOR

Thephenomenologyofmusicisthescienceofstudyingsoundsandtheirrelationshipwithhumanbeings.ConceivedbytheRomanianorchestraconductorSergiuCelibidache,phenomenologyofmusichasbecomeavaluablesourceofknowledgefortheorchestralconductor,offeringtoolsthatcanleadtoadeeperunderstandingofthescore.InthispaperIwillofferanexplanationofphenomenologicalmethod,appliedtoconductingbasedonmyownexperience,andanexplanationofthebasicideasofCelibidachesPhenomenologyofMusic.

KEYWORDS:Celibidache,phenomenologyofmusic,structure,unity,consciousness

LuciaMarin

_____________________________________________________

StudentsSignatureMarch25th2015

____________________________________________________Date

BASICFUNDAMENTALSOFPHENOMENOLOGY

OFMUSICBYSERGIUCELIBIDACHEASCRITERIAFORTHEORCHESTRALCONDUCTOR

By

LucaMarn

JohnNardolillo

___________________________DirectorofDissertation

DavidSogin

____________________________DirectorofGraduateStudies

March25th2015

____________________________

TomymasterEnriqueGarcaAsensio,towhomIoweeverythingIamasan

orchestralconductor

iii

ACKNOWLEDGMENTS

Iwouldliketoshowmygratitudetomyadvisorycommittee:ProfessorJohnNardolillo,ProfessorCynthiaLawrence,Dr.LanceBrunner,Dr.EverettMcCorvey,Dr.SusanCarvalho,andProfessorDoreenMaloney;toeachandeveryoneofthem,my

sincerethanks.

iv

TABLEOFCONTENTSACKNOWLEDGMENTS.........................................................................................................iiiTABLEOFCONTENTS...........................................................................................................ivCHAPTERONE:INTRODUCTION..........................................................................................1CHAPTERTWO:ANAPPROACHTOTHEPHENOMENOLOGICALMETHOD.........................3CHAPTERTHREE:PHENOMENOLOGY.................................................................................5CHAPTERFOUR:CELIBIDACHESBACKGROUNDINMUSICANDPHILOSOPHY..................8CHAPTERFIVE:SERGIUCELIBIDACHESPHENOMENOLOGICALAPPROACHTOMUSIC...10CHAPTERSIX:THEPHENOMENOLOGICALMETHODAPPLIEDTOTHEFINALEOFTHEBRAHMSVARIATIONSONATHEMEBYHAYDNOP.56a..................................................23CHAPTERSEVEN:CONCLUSIONS......................................................................................26REFERENCES......................................................................................................................28VITA...................................................................................................................................31

1

CHAPTERONE:INTRODUCTIONTheroleoftheconductorisoneofthemostmysteriousaspectsofmusicmaking

forthegeneralpublic,anddefiningitiselusiveevenamongprofessionalmusicians.Conductorsthemselvesdifferwidelyintheirapproachtotheart,astheymustbalancevariousaspectsoftechnique,whichincludemusicalinterpretation,gesturalcommunication,andtheapproachofleadership.InthispaperIlimitmyinvestigationtothecomponentdealingwithmusicalinterpretation,specificallytherelationshipbetweentheconductorandthescore,throughthelensofmyexperienceofCelibidachesphenomenologyofmusic.

Althoughweknowatadeepviscerallevelwhenweexperienceagreatperformance,itisdifficulttoexplainhowthishappens.Whatisitthatallowsaconductortoinspireandelicitanexceptionalperformancefrommusicianswhomayhaveplayedtheworkmanytimes?ItisthiscorequestionIseektoexploreinthispaper,specificallythroughtheworkandlegacyoftherenownedconductorSergiuCelibidache(19121996).Byexamininghisapproachtothescoreandthevibrantsoundhedrewfromhismusicians,Ihopetorevealamethodbywhichanyconductorcanenvisionandworktowardatranscendentperformance,whichmanymusiciansconsidertheultimategoalofthemusic.

Therearemanyapproachestopreparingascoreforperformance,includingissuesof"how,""howmuch,"andwhen,whichareessentialtoanymusicalperformance.Conductorsmustdeveloptheirownapproachestothesemusicalissuesinordertoexecutetheirartwiththeutmostresponsibilityandcredibility.Myexplanation

2

ofCelibidachesapproachisbasedonmyownunderstandingandapplicationofhisapproach,whichIhavedevelopedoverthepastfourteenyears,throughthetransmissionandguidanceofCelibidachesdistinguisheddisciple,theSpanishconductorEnriqueGarcaAsensio(1937).

Celibidachecultivatedaformofmusicalunderstandingthatwasofgreatimportanceinthetwentiethcentury.HedevelopedthisunderstandingthroughhisstudyofEasternphilosophyandEdmundHusserlsphilosophyofphenomenology,aswellashisownknowledgeandengagementwithmusic.Celibidachesphenomenologyofmusicisaninvestigationorinquiryintothedirectperceptionandinfluenceofsoundandhowthesoundcontributestothemusiciansabilitytoreachatranscendentperformance.

Celibidachedidnotleaveasinglecompleteaccountofhisapproach.Rather,hisexplanationsarescatteredamongdifferentinterviews,newspaperarticles,lecturetranscriptions,andthelegacyofhisdisciples.Noneofthesesourceshaveanorganizedexplanationofthemainconceptsofthephenomenologyofmusicandthephenomenologicalmethod;neitherTomZellenorJavierMiranda,authorsoftheonlytwocompletedoctoraldissertationsonCelibidachesphenomenologyofmusic,haveoptedforthisapproach.Inaddition,itwillbeveryusefultohavethisinformationinEnglish,sincemostofthematerialsaboutthesubjectareinotherlanguages.

MyapproachhasbeentoselectthosetextsbySergiuCelibidachethatbestdescribehisPhenomenologyofMusicandtodiscusstheminacoherentsequencesotheycanbemoreeasilyappliedtoanorchestralperformance,andbyextension,beusedbyanymusician.

3

CHAPTERTWO:ANAPPROACHTOTHEPHENOMENOLOGICALMETHODAlthoughSergiuCelibidachedidnotleaveacompletewrittenrecordofhis

musicalphenomenologicalmethod,Ibelievethatbasedonmyownexperience,itispossibletoformulateasetofguidelinesfortheapplicationandunderstandingofphenomenologyofmusic.Thestartingpointofthisinvestigationistheperceptionofsound.Aphenomenologicalmethodisdifficulttoexplainbecauseitreferstodirectperception,whichisexperiential.Thismethodisbasedontheperceptionofsound,particularlythetensionandrelaxationthatexistsinthevertical(chord)andthehorizontal(melody)dimensions.Itcanbeappliedtoanylargestructure,suchasbinaryandternaryforms,variations,aswellasmicrostructures,suchasetoftwoormoresounds.

Thisapproachtothescorecreatesastructurebalancedbytheclimax:thepointofmaximaltensionofthepiece.Thelocationofthatpointisthefirstandmostimportantgoalfortheconductor.Tofindthispoint,Iwillexaminethebasicelementsofcontrastandrepetitionastheyaremanifestedinthecontextofrhythm,harmony,melodyandtimbreofthepiece.Contrastalwayscreatestension,andtherepetition,dependingoncontext,canincreasetensionorreleasethetension.

Thismethodhasthreesteps:(1)locatingtheclimax;(2)determiningthesectionsofextroversion,(buildingthetension)andintroversion,(releaseoftension);and(3)studyingthesubsectionstofindareasoftensionandrelaxation.

Thefirststepofthephenomenologicalmethodlocatesthepointofmaximaltensionofthestructure.Thesecondstepdeterminesthesectionsofextroversionand

4

introversionofthework.Thesectionofextroversioncoversthepathfromthebeginningoftheworktotheclimax,andthesectionofintroversioncoversthepathfromtheclimaxtotheendofthestructure.Thethirdstepofphenomenologicalmethoddeterminestherelationshipofthesoundsonamicrolevel:howthetensionandrelaxationworkandhowthesoundscreatephrasesthathaveasimultaneousrelationshipoftensionandrelaxationbetweenthemselves.Allofthesearticulationscontainapeakoftension,buttheyaredifferentfromthepointofmaximaltensionofthestructure.

CopyrightLucaMarn2015

5

CHAPTERTHREE:PHENOMENOLOGYThemostbeautifulthingsintheworldcannotbeseenortouched,theyarefelt

withtheheart.1AntoinedeSaintExpery

Phenomenology2isthescienceofstudyingtheessence(whatitis)throughtheanalysisofthephenomenon(whatitshows).Phenomenonandessencecannotbeseenasentitieslivingapart,butasaspectsthatinteractwitheachothertogiveusinformationbywhichoneenlightenstheother.Itisoneoftheextremelyinfluentialphilosophicalschoolsofthoughtofthetwentiethcentury.

EdmundHusserl3(18591938)isconsideredthefatherandfounderofphenomenology.Hewrote:Phenomenologyistheuniversaldoctrineoftheessences,inwhichtheessenceofthescienceofknowledgefindsitsplace.Itdescribesascience,alinkbetweendifferentscientificdisciplines,butatthesametimeitrefersamethodandanintellectualattitude.4

IfEdmundHusserlisconsideredthefatherofphenomenology,thenMartinHeidegger(18891976)andMauriceMerlauPonty(19081961)couldbeconsideredhisheirs.TherearemanyphilosophicalinquiresbeforeHusserlsteachingsthatcanalsobe1Goodreads,accessedMarch14,2015,http://www.goodreads.com/quotes/369705themostbeautifulthingsintheworldcannotbeseen.2MiguelAstor,AproximacinfenomenolgicaalaobramusicaldeGonzaloCastellanosYumar,(Venezuela:ComisindeEstudiosdePostgradoFacultaddeHumanidadesyEducacindelaUniversidadCentraldeVenezuela,2002),23.Trans.LucaMarn.3Philosophica,accessedMarch13,2015,http://www.philosophica.info/voces/husserl/Husserl.html.4EdmundHusserl,Laideadelafenomenologa,(Madrid:Ed.F.D.FEspaa,1950),92.Trans.LucaMarn.

6

consideredasphenomenological.Forinstance,GeorgWilhelmHegel(17701831)usedthetermphenomenologyinasenseverysimilartoHusserls,andeventhemusicaltheoryofAristoxenusofTarentum(335BC)couldbeconsideredphenomenologicalinitsclearoppositiontoPythagoreanconcepts.SaintAugustin(354430AD)usedasimilarconceptofessenceinhisbookDeMusica,aswellasinhisphilosophyoftimecontainedinConfessions.

EdmundHusserlsphilosophicalinquirysoonturnedintoafullfledgedschoolofthought,andhequicklyhadafollowingofdisciples.Thismovementgrewoutofhisconcernaboutthenatureofnumbers,andlateritdevelopedintoafullrefutationofpsychologismastaughtbyhisteacherFranzBrentano(18381917).Phenomenologyisdifferentfrompsychologism,theotherimportantphilosophicalstreaminthebeginningofthetwentiethcentury.Todenyanytypeofrelationshipwithpsychologism,Husserlclarified:wemustavoidmixingupthepurephenomenon,anydatathatcomesfromourexperience,withthepsychologicalphenomenon,subjectofstudybytheothernaturalsciencecalledpsychology.5

Accordingtophenomenology,nothingistakenforgranted:commonsense,thenaturalworld,scientificproposals,andpsychologicalexperiencesareallimportant.Theapproachistoperceiveobjectsbeforeanybelieforjudgementarises,inordertoopenlyexploretheobjectsessence,whichcanbehiddenbysubjectiveinterpretationsandreactions.

5Ibid.

7

Husserldefinedphenomenologyasascientificmethodthatexcludesanykindofpsychologism;inotherwords,anythingextraneoustotheexperience.Wecanexperiencethistypeofperceptionthroughtwofundamentalstepsthathecalledreductions:

1. Transcendentalreductionovercomestheconstrictionsoftheegoandallowsustoconnectdirectlytothephenomenalworldwithoutjudgment.Thetermreduction(fromtheLatinreducere)suggeststheleavingasideofallinformationandrelationshipsthatareextraneoustotheexperienceofaphenomenon.Thuswebracketourexperiencebyeliminatingtheunessential.

2. Eideticreductionistheabsorptionoflearningfromthephenomenonthroughourconsciousness.

Themainfocusofphenomenologyisconsciousnessitselfandhowweexperiencetheworldmomenttomoment.Whatweperceivedirectlythroughoursensescanbecalledreality.Themainattributeofconsciousnessisintentionality.AccordingtoHusserlallconsciousnessisawareofsomething:everyactofconsciousnessisalwaysrelatedtosomethingelse,andthewayconsciousnesslearnsisthroughtheconnectionwithourintuition.Duringthetwentiethcentury,phenomenologybecamewidespread,creatingdifferentschoolsofthoughtinmanydiversefieldsofknowledge.

CopyrightLucaMarn2015

8

CHAPTERFOUR:CELIBIDACHESBACKGROUNDINMUSICANDPHILOSOPHY

Allthatweareistheresultofwhatwehavethought:itisfoundedonourthoughtsandmadeupofourthought.6

BuddhaSergiuCelibidachewasborninRomaniain1912,buthismostimportantmusical

trainingtookplaceinBerlin,theGermancapital,beforeandduringWorldWarII(19361945)attheHochschulefrMusikandtheFriedrichWilhelmUniversitt.AttheHochschulefrMusikCelibidachestudiedcompositionwithHeinzTiessen,conductingwithWalterGmeindl,counterpointwithHugoDiestler,andmusictheorywithKurtThomasandFritzStein.Undertheirinstruction,Celibidachegainedthebasicfundamentalsofhismusicalknowledge,whichhethenexpandedbyattendingphilosophyclassesbyEduardSprangerandNicolaiHartmann.ProfessorTiessenandNicolaiHartmannwereCelibidachesthemostinfluentialteachers.

OnmanyoccasionsCelibidachesaidthatRichardGustavHeinzTiessen(18871971)wasthecentralfigureinhismusicaltraining.TheRomanianconductorlearnedofTiesseninParis,whenheheardoneofhisstringquartetsontheradio.CelibidachewassoinspiredbythepiecethathecomposedhisownquartetandsentittoTiessen,whothenacceptedCelibidacheintohisstudio.

Tiessenhadabroadrangeofinterestsbeyondmusic,includingplantscience,linguistics,andevenastrology.Hehadalsostudiedbirdsong,likethecomposerOlivierMessiaen.TiessenhelpedCelibidachedevelopthetechnicalandpracticalcomponentsofcompositionthatwouldlaterframehisthoughtsaboutthephenomenologyofmusic.

6Goodreads.

9

Tiessensmusicwasconsideredmodernist,butheneveracceptedthetotaldissolutionofthetonalsystemchampionedbyArnoldSchoenbergandhisfollowersintheSecondVienneseSchool.TiessenscompositionalstylewasclosertoHindemiths,basedonthepreeminenceofatonalcenter,andthereforethelogicofthecadence.Hewasalsoconvincedhecouldfindatonalcenterinatonality,aconvictionthatledhimtoestablishpowerfulmusicalstructuresinhiscompositions.ThisviewwasalsosharedbyCelibidache,whohadalwaysrejectedwhatheconsideredtheextremesoftheSecondVienneseSchool.OthertheoristsandcomposerssuchasHugoRiemann,ErnstKurthandHeinrichSchenkerembracedthesamemodernistapproachasTiessen.

CelibidachesrelationshipwiththephilosopherNicolaiHartmannisanotherkeytounderstandingthedevelopmentofhisthoughtsonthephenomenologyofmusic.Inhis1985lectureonphenomenologyofmusicinMunich,hediscussedindetailhowHartmannsideashelpedlaunchhistheory.ThetextfromthislecturelaterbecamethefirstpublishedpaperbytheRomanianconductoronthistopic.

NicolaiHartmann(18821959)wasborninRigaandenjoyedarichandcompleteeducationbasedonhisinterestinmusicandastronomy.7HewasrecognizedinthefirsthalfofthetwentiethcenturyasoneoftheleadingGermanphilosophers,asimportantasHusserlorHeidegger.HartmannbeganbystudyingtheworksofImmanuelKantandprogressivelymovedtowardsphenomenology,thenewdisciplinethatdominatedphilosophicalstudiesafterWorldWarI.

7StanfordEncyclopediaofPhilosophy,accessedMarch13,2015,http://plato.stanford.edu/entries/nicolaihartmann.

10

CHAPTERFIVE:SERGIUCELIBIDACHESPHENOMENOLOGICALAPPROACHTOMUSIC

SergiuCelibidacheistoocomplexafiguretocaptureeasilyinwords.Hewasclearlyageniuswho,throughmusic,couldcreateexperiencesoftranscendence.Hisinnerneedtofinddepthineveryaspectoflife,includingmusic,ledhimtothestudyandpracticeofZenBuddhismandtoengagewithandelaborateonthephenomenologyofmusic.HeadaptedHusserlsconceptofphenomenologyforthefieldofmusicandputitintopracticeinhisworkasanorchestralconductor.TherearefivebasiccomponentstoCelibidachesapproachtomusic,whichIdiscussinthefollowingsections:Celibidachesviewofmusicitself,phenomenology,interpretation,musicalstructure,andthedimensionofspatiotemporality.

CelibidachesviewofmusicThebasicdefinitionofmusicintheOxfordEnglishDictionaryonlineis:Theart

orscienceofcombiningvocalorinstrumentalsoundstoproducebeautyofform,harmony,melody,rhythm,expressivecontent,etc.8Thiswidelyaccepteddefinitionofmusicprovidesastartingplacetowhichaphenomenologicalapproachtomusiccanaddmoredepth.

Yet,accordingtoCelibidache,becauseofitsnonstaticnature,musiccannotbegraspedandthushasnodefinitionperse.Therefore,heproposedthattheremustbeanessentialelementpresentformusictoexist.Forhim,thatelementissound.OfsoundCelibidachesaysthis:

8OxfordEnglishDictionary,accessedMarch13,2015,http://www.oed.com.

11

Inmyview,musicisnotsomethingwecanunderstandbygivingadefinitionbasedonconventionallanguage.Itdoesnotfitinanyperceptibleformofexistence.Inotherwords,musicisnotsomething.Nevertheless,undercertaincircumstances,somethingcanturnintomusic.Thissomethingiswhatwecalledsound.Ontheotherhand,soundisnotmusic,butundercertainconditionsitcanturnintomusic.9Veryoften,professionalandamateurmusiciansalikegoalongwiththedefinition

ofmusicintheOED,equatingmusicandbeauty,consideringanybeautifulsequenceofsoundtobemusic.Celibidache,however,wascriticalofthisview.Forhim,theessenceofmusicisthetruthofpureperception10.Ifthispureperceptionisperceivedbytheperformersandtheaudience,thenatranscendentexperienceispossible.Celibidachefeelsthatsimplebeautyandsuperficialemotionhavenoplaceinmusic:Anyonewhostillhasnotgottenpastthestageofthebeautyofmusicstillknowsnothingaboutmusic.Musicisnotbeautiful.Ithasbeautyaswell,butthebeautyisonlythebait.Truthisourultimategoal,notbeauty.11

Theunconventionalunderstandingofmusicthatemergesfromaphenomenologicalpointofviewisessentialtounderstandeveryotherideaofthistheory.

9SergiuCelibidache,bermusikalischePhnomenologie,(MnchenandAusburg:TriptychonVerlag,2001),2.Trans.LucaMarn.10SergiuCelibidache,Lamsica,sinalternativa,ABCNewspaper,(Madrid:1993),29.Trans.LucaMarn.11Ibid.

12

Celibidachesphenomenologyofmusic

Celibidachesphenomenologyofmusiccanbedefinedasthescienceresponsibleforthestudyofthesoundanditsaffectsonhumanbeings.AccordingtoCelibidache,theperceptionoftensionandrelaxationinourconsciousnessafterlisteningtotwoormoresoundscannotbeinterpretedbecause,forhim,itexistsapriori.AccordingtoCelibidache:NicolaiHartmannsettwopathsofresearchthat[]attempttoturnthisdisciplineintoarealscience:theobjectificationofthesoundandthewaythesoundaffectsconsciousness.12

Fromthisquote,itisclearthatforCelibidachetherearetwodimensionstothephenomenologyofmusic:thestudyofsoundaspartofamusicalpiece,andtherelationshipbetweenasoundandhumanlistener.

Soundisthefirstdimensionthatmustbepresentformusictoemerge.Inourconsciousnessthenaturalassociationofsoundscreatesanaturalmovementofemotionaltensionandrelaxationinthelistener.Thenatureofsounditself,includingnaturalovertones,isthestartingpointforthetreatmentofsoundsandtheirnaturalrelationshipbetweeneachother.Itisimportanttoperceivethissoundproperlysothatmusiccanemerge;asCelibidacheexpressedit:

WhenIaminfrontofanorchestra,Ifeellikeasculptorreadytosculptabigblockofstone.WhatisthecommonfactorofeverythingIdowhenconducting?Ineverstopsayingno:No,itisnotlikethat,toofast!Notlikethat,thesecondhornhasbeenconcealed!No,thatisnotthemaintheme.Itisoverthere!No,no,no!untilwefinallygettotheYes.Butitisnotmewhomakesthefinaldecision.Iamjustresponsiblefor

12Celibidache,bermusikalischePhnomenologie,2.Trans.LucaMarn.

13

creatingthematerialconditionssoeveryonecanunderstandanideaofhowtogettothatyesandhowtoachieveit.13Theseconddimensioninvolvedintheperceptionofmusicisfoundinhuman

consciousnessasitisaffectedbythesound.Inthisrelationship,wedistinguishtwoconcepts:noesisandnoema.

1. Noesisistheintentionalprocessofconsciousness[]itistheobjectasitappears.14Itoccurswhenourconsciousnessmakesthefirstcontactwiththephysicalworld.Inthecaseofanorchestralconductor,thatcontactisthereadingofascore.Celibidachestated,EverythingIperceiveinmyconsciousnessisnoetic.15WhatCelibidachemeantisthatgiventheenormousamountofinformationthatassaultsoursenses,ourconsciousnesshasonlyoneoptioninordertoperceivethemall:reduction.Sothereductionofsensoryperceptioniscallednoema.

2. Noemaistheidealcontent[]theobjectasitisintended.16Throughreduction,alloftheinformationgoesintoourconsciousness.ForCelibidache,onlythroughreductioncanmultiplicitybeturnedintothatsingleunitycalledoneness.Thatonenessisnoema.

Unityandonenessiswhatconsciousnessneedstoperceiveanobject.Transcendenceisachievedwhenweareabletoreducemultiplicityintooneness.13SergiuCelibidache,LadireccinorquestalsegnSergiuCelibidache,RevistaAmadeus,(Madrid:1994),40.Trans.LucaMarn.14StanfordEncyclopediaofPhilosophy.15Celibidache,bermusikalischePhnomenologie,15.Trans.LucaMarn.16StanfordEncyclopediaofPhilosophy.

14

Musicallyspeaking,Celibidachefindsthattheconceptofonenesscanbeappliedtoanymusicalstructureinwhathetermsverticalpressure(chord)andhorizontalpressure(melody).Thisexerciseofreductioninourconsciousnessisimperativewhentheconductorhastofacedifferentkindsofinformationthatmustbeunified.OnthissubjectCelibidachesays:WhenIaminfrontofanorchestra,Ireceivealotofinformation.Whatisthemostimportant?Whichinformationmustmyconsciousnessfollow?Imustreducethismultiplicityintoasingleunity,takingintoaccountthatreductiondoesnotmeanlosinganyinformation.17

Multiplicityisexhibitedinthevarietyoftimbre,pitches,attacks,andarticulationsthatsimultaneouslyexistinanygivensinglemoment,aswellasthoseexistingsuccessivelyovertime.Transcendenceisthereductioninourconsciousnessofallthemultiplicitiesoftheverticalandhorizontalpressuresaftertheeliminationofallformsofegoidentifications(ourownemotions,expectations,interpretation,etc.).Celibidachedefinestranscendenceastheactofaccumulatingmultiplicityandthenreducingittoonenessinordertobeabletoperceivemoremultiplicity.18Onceconsciousnesshassuccessfullyreducedmultiplicity,itisreadytofaceandreducethenextformofmultiplicity.Thejoboftheconductoristhecontinualreductionofmultiplicityduringtheprocessesofrehearsalandconcertsinordertoalignthesoundswithhispreviousidealizationofthescore.

17Celibidache,LadireccinorquestalsegnSergiuCelibidache,40.Trans.LucaMarn.18Celibidache,bermusikalischePhnomenologie,23.Trans.LucaMarn.

15

Oncesoundhasbeenreducedbyourconsciousnessandperceivedasaoneness,musicaltranscendenceispossible.InCelibidacheswords:

Soundisinthefirstplaceanagent.Itcantakeusbeyondanyphysicalcontingency.Everyonewishestounderstandandenjoythedifferentrelationshipsbothbetweensoundsandemotions.Havingsaidso,therelationshipbetweensoundandahumanbeingisnotsymbolic,aswithlanguage,butdirect.Soundhasaspecialpositioninthehumansensorialstructure.Iamnotawareofamoredirectpathtotranscendencethansound.19InthefollowingcitationCelibidachesupportsthebasicideaof

phenomenologyofmusicbylinkingsoundwiththevitalityofhumanaffection:Inasymphonywithtwothemes,whereisthecontrastbetweenthem?Whocreatesthem?Theinnerforcedoes,thevitalityofhumanaffection.[]Thelinkbetweentheintervalofsoundsandtheaffectiveworldisdirect.Itisthefactofbeingfirstmovedoneway,andanotherwaylater,thatcreatesopposition[]Butatthesametime,wecantakeitoutfromitsontologicalperspectivebeforesaying:Thatisit!!20

AboutinterpretationofMusicAccordingtoEnriqueGarcaAsensio,21thephenomenologyofmusiccanbe

definedasthescienceofthestudyofsoundsnotsubjecttointerpretationorhumanwill,andtherelationshipbetweensounds,accordingtothephenomenologicalparametersoftensionandrelaxation,alongwiththestructurecreatedbythesoundsofamusicalpiece.22

Celibidacheoftenlikenedthestructureofmusictoalandscape:19Ibid.20Ibid.43.21Inconductinglessons.22Celibidacheusesthewordinterpretationtoconnoteanyunwarrantedlibertythatamusiciantakeswiththescore.

16

Themusicalmaterialis,inasense,likealandscape,ithasmountains,valleys,rivers.Ithasitsowntopography.Whatcanwedotobecomeawareofthislandscapeanditsdifferentnaturalvariances?Wecannotchangethem,wecannotalterthem,butwecanignorethem.Ifwedonotwanttoignorethesefeatures,wemustintegratealltheinformationaboutthelandscapeintoasingleunity.Musicallyspeaking,onecannotchangethemusictomakeitmoreexpressive.Whatleadstointerpretationistheconfusionbetweenmusicandemotions,butthewayeachoneofusgoesintomusicisdifferent.Thisinterpretationrespondstoourdifferentcriteria,althoughinterpretationhasnothingtodowithdifferencesincriteria.[]Youhaveneededfortyminutes,whereasIneededtwentyfive.Butthepathofthesecriteriathroughthelandscape,nomatterhowincompletelyitisrepresentedinthescore,isarepresentationofthelandscape.Ifwefollowthecomposersguidelines,whatistobeinterpreted?CanIdoaritenutoifanaccelerandoiswritteninthescoreasmanydo?Wemight.[]Butthisispurefancy.Whatwecallinterpretationisthecombinationoftheignoranceoftheplayerandthelistener.Behindtheterminterpretationtheresurelyliestheideathatonecantreatmusicasitwasasimpleobject,assomethingthatcanbetakenoutfromtherefrigerator,andtoppedwithacertainsauce,dependingonsomeonestaste.Thereisnothingmorefalseandmoredistantfromwhatmusicreallymeans.23AccordingtoCelibidache,thegoaloftheconductoristounderstandtheintrinsic

structureofaworkandtobeabletorecreateitassuch.Itshouldnotbeinterpretedthroughthedictatesofsimpletaste.Althoughthestructureisobjective,thetimeandconditionsaroundtheactofaperformancearealwayschanging,andthereforeeachperformanceisuniqueandunrepeatable.Aboutmusicalstructure

AsweexplainedinChapterTwo,themusicalstructure,ortopographyofthepiececanbedividedintotwoprimarysections.Thefirstsectioncontainstheexpansion23Celibidache,Lamsica,sinalternativa,29.Trans.LucaMarn.

17

phase,inwhicheverincreasingtensionculminatesintheclimax.Thesecondsectionentersintoaphaseofresolutioninwhichthetensionofthepiecereleasesuntilitsconclusion.AccordingtoCelibidache,themaingoalforanyconductorwillbetoperceivethestructureandtocreatethematerialconditionssothatmusiccanemerge.Howfarcanthephaseofexpansiongo?Obviouslyasfarastothepointitcannotexpandanylonger.Thatcrucialpointiscalledthepointofmaximaltension.Thispointistheeventaroundwhichallthemusicalarchitecturalstructureevolves.24

Theclimaxorpointofmaximaltensionisnotjusttheoreticalbuttheexperienceoftwoopposingforcestensionandrelaxationdirectingtheirenergiesagainsteachother.Somusic,aspartofthisphenomenalworld,cannotescapefromthisessentiallawoftensionandrelaxation.

Accordingtothephenomenologyofmusic,thefirstsoundperceivedinanystructureiscalledpointzero.Whenasecondsoundappearsthelistenercanbegintoexperiencetherelationshipbetweenbothsounds.Fromthefirstsoundperceivedtothepointofclimax,thetensioniscontinuouslyincreasing,andfromthepointofclimaxtothelastsoundperceived,thetensioniscontinuouslyreleased,andreturnstopointzero.Ideally,beginningandendareinseparableandcanbeperceivedasasingleunit.ThisisoneofthemostdifficultconceptstounderstandinCelibidachesphenomenologyofmusic,anditisstronglysupportedbythecyclicalconceptoftimeasconceivedinEasternphilosophy.Celibidachesays:Inphenomenology,theendofapieceisthe

24Celibidache,bermusikalischePhnomenologie,38.Trans.LucaMarn.

18

potentialbeginning,becausebothbeginningandendareaninseparableunitthattranscendentallyexistincompletesynchronicity.25

Accordingtothephenomenologyofmusic,tensionandintensityarethetwomainfactorsthatcombinetocreatemusicalstructure.Althoughthetermssoundsimilar,theydifferinsignificantways,asshowsinthefollowingdefinitions:

Tension:Thestateofbeingstretchedtightbytwooppositeforces.26 Intensity:Themeasurableamountofaproperty,suchasforce,brightness,or

amagneticfield.27Musicaltensionreferstoaninnerforcethatcomesfromthephenomenonof

sound.Musicalintensityontheotherhand,istheauralexperienceofthesoundanditcanberepresentedbythedynamics.Forthatreason,amelodyplacedinpianissimocanshowmoretensionthanadifferentmelodyplacedinfortissimosincetensionisdependentuponthemusicalcontext.Tensioncanberelatedtoharmony,melody,rhythmorpitch.Amongthesefouraspectsofmusic,therearetwofundamentalqualities:harmonyandmelody.Themelody,ormelodies,createsthemelodictension(horizontalpressure),andtheharmonycreatesharmonictension(verticalpressure).EnriqueGarcaAsensiorepeatedlysaidinconductinglessons:musicistheamountofhorizontalflowthatverticalpressureallows,makingitclearthatmusicdependsofthesetwoopposingforces.

25AntonioDelMoral,SergiuCelibidacheenbuscadelaverdad,ScherzoMagazine,(Madrid:1987),56.Trans.LucaMarn.26OxfordDictionaries,accessedMarch13,2015,http://www.oxforddictionaries.com.27OxfordDictionaries.

19

Regardingmelodictension,andusingphenomenologicalterminology,thehigherthesound,thestrongerthetension.AccordingtoSergiuCelibidache,thehumanvoiceistheperfectinstrumenttheonlyonewithtensionandintensityonparallellevels.Withthehumanvoice,ifthepitchascends,thetensionincreases,andviceversa.Celibidachenotedthatinthisrespecttheflute,ofallinstruments,comesclosesttotheperfectionofthehumanvoicebecausehavebothinnatelyhavethesamephrasing.Understandingthehumanisindispensableforachievingidealphenomenologicalphrasing.Theapplicationofthisideacantheninformthedecisionmakingofanorchestralconductor.

Withrespecttoharmonictension,theinitialtonalityofamusicalpieceiscalledthemothertonality.InthefunctionaltonalitytheVchordfunctionsasdominantbecauseitcreatesthemostnaturaltensionwithrespecttothetonic.Therefore,everymovementtowardthedominantcreatestension,whereaseveryreturntothetoniccreatesrelaxation.Thisneedstobeexperiencedtobeunderstood.Onthisconcept,Celibidachesays:Whatcanyouexplainabouttheextroversion[increasingtension]ofanascendingfifth,andofthefactthataSolderivesfromtheDo?Ifyoudonotexperienceit,itcannotbeexplained.Butifyouexperienceit,thereisnothingtoexplain.28

Inamusicalcompositionwecanhavetwobasicresourcesinwhichthephenomenologyofmusichassomethingtosay:repetitionandcontrast.Everytime

28Celibidache,LadireccinorquestalsegnSergiuCelibidache,42.Trans.LucaMarn.

20

someonelistenstoasoundoragroupofsoundsperceptionwilldifferwitheveryrepetition,asitprovokesadifferentresponseeachtime.InthecontextofCelibidachesphenomenologytruerepetitiondoesnotexistinmusic,becausemusicoccursthroughtime,andtimeisunrepeatable.

Repetitionhasthedualpurposeofcreatingtensionandrelaxingit.Extroversionandintroversionarerelatedtotensionandtorelaxation,respectively.Phenomenologicallyspeaking,thepurposeofcreatingtensionistoproduceinstability,whereastheresolutionofthattensionleadsbacktotheinitialbalance.

Memoryallowsustounderstandmusicbecauseitenablesustocompareoneeventtopreviousevents,andinthecontextofmusic,onesoundtotheprevioussound.Withoutmemorytheexperienceofresolutionwouldnotpossiblebecauseourmindscouldnotperceivethetensionthathadbeencreatedthroughapriorexpansion.AccordingtotheVenezuelancomposerMiguelAstor:Whenwelistentoamusicalphrase,ourmemoryallowsustoretainthisphraseuntilourexpectationshavebeenresolved.Ourexperienceofbeautyhasalottodowiththeinnerpermanenceofamusicalfeelingconsistingofanumberofexpectationsthatmustbesatisfied.Forthatreason,beginningandendcannotdisconnectfromeachother.29

Memoryallowsustoorganizesoundsinanactioncalledcorrelation.CorrelationisanessentialtermforCelibidache,inthatitrequiresadirectandcompleteperceptionofthesoundmomenttomoment.Assuchfreesuspreoccupationwitha

29Astor,AproximacinfenomenolgicaalaobramusicaldeGonzaloCastellanosYumar,71.Trans.LucaMarn.

21

separatesenseofselfandfixation.Itthusrelatesdirectlytothespiritualdimensionofthehumanbeing.Correlationistheactofrelatingasoundorgroupofsoundstoeachotherintermsoftensionandrelaxation.In1987,Celibidachesaid:

Aparticularmeasureisrelatedtothepreviousmeasureaswellasthefollowingmeasure.Whatisresponsibleforcorrelatingtheprinciplesofmusic?Sounds.Ifthiscorrelationdoesnottakeplace,whathappens?Everythingisplayedforte[]Oh,myGod!But,whatisobjectiveinascore?Thestructure[]thewaysoundisarticulateddependsonbothverticalandhorizontalpressure.Ifoneisnotawareofthesetwopressures,onecannotcorrelate.30

Aboutthedimensionofspatiotemporalityinmusic.Establishingtempoisoneofthemaindutiesoftheorchestralconductor.Every

workneedsaspecifictempothatallowsmusictoemergedependinghowitsoundsinaparticularacousticspace.

WhenCelibidacheaskedWilhelmFurtwnglerafterarehearsalaboutthetempoofaparticularpassageofapiece,heanswered:Well,thatdependsonhowitsounds.TheanswerwasarevelationtoCelibidache.

AccordingtoCelibidache,Furtwnglermeantthattempowasdependentonthesoundinitscurrentacousticalsettingandthereforeitcannotbeimposedapriori.Thecorrecttempoisalwaysrelative,notabsolute,asmightbeimpliedinthescore.Tempoispartofthewholemusicalexperiencewhichalwaysoccursinaspecificspatio

30DelMoral,SergiuCelibidacheenbuscadelaverdad,56.Trans.LucaMarn.

22

temporalcontext.31Celibidachecametobelievethatmusicissubjecttothespatiotemporalconditionsinacurrentmoment:

AmetronomecannotsettheconditionsunderwhichIcanachieveatranscendentexperience.But,isthisanactofhumanwill?Notatall.Iftimeisconsideredasasimpleobject,asmanyfoolishpeopledo,quaverat72canbewrittenonthescore.Tempoisthenecessaryconditionsothatmultiplicityofallphenomenaofmusiccanbeperceivedbyourconsciousness.Theabilityofourconsciousnessistoreducethemultiplicityofelementsandturnsomethingverycomplexintoasingleunity.Thenwewillbereadytoreducethenextformofmultiplicity.Thegreaterthemultiplicity,themoretimewillbenecessary.But,infact,tempoitselfisnotsloworfast.Today,tempohasturnedintosomekindofobjectthathasbeenmeasuredasaphysicalentity.Thetendencytodothisisabsurd.Physicaltimedoesnotexistinmusic,althoughcriticsandfoolishpeoplewhoteachinmusicschoolscontinuetoteachthis.32Thisconceptaboutthetemporalityofmusicinadditiontotheideaofreduction

ofthemultiplicityinmusicarethemainreasonswhyCelibidacheconductedusingsuchslowtempos,especiallyinhislaststageofperforming.Hebelievedthetempoofapiecewasdeterminedbythestructureofthescoreandtheacousticconditionsofthevenue.Inthe1990s,EnriqueGarcaAsensioaskedCelibidachewhyheconductedwithveryslowtempi,andCelibidacheanswered:becausenowIcanhearbetter.

31Thisrelativismnotonlyaffectstempo,butitalsoaffectsthedynamicsofthescore.Wecannotdeterminewhatforteorpianoare,astheybothdependontherelationshipsbetweentheinstrumentwithitselfandwiththeothers.32Celibidache,LadireccinorquestalsegnSergiuCelibidache,43.Trans.LucaMarn.

23

CHAPTERSIX:THEPHENOMENOLOGICALMETHODAPPLIEDTOTHEFINALEOFTHEBRAHMSVARIATIONSONATHEMEBYHAYDNOP.56a

Thischaptercontainsabasicapplicationofthephenomenologicalmethodtothe

FinaleoftheVariationsonaThemebyHaydnop.56abyJohannesBrahms.Thismethodhasthreesteps:(1)locatingtheclimax;(2)determiningthesectionsofextroversion,(buildingthetension)andintroversion,(releaseoftension);and(3)studyingthesubsectionstofindareasoftensionandrelaxation.

Thefirststepislocatingtheclimaxofthepiece,whichtheconductorshoulddothroughanalyzingthemusicalformandphrasestructure.Thismovementisapassacagliabasedonseventeenrepetitionsofafivemeasurebassoostinatobythecellosandbasses.Eachrepetitioncreatesisanewvariationgeneratingmoretensionthroughtherepetitionoftheostinatoalongwiththecontrastofeachvariation.Theseventeenrepetitionsoftheostinatoaregroupedintofoursymphonicarticulations:(1)measures1to19;(2)measures20to39;(3)measures40to64;and(4)measures65to84.Atmeasure85webeginarticulation5:therecapitulationofthemainmelody,HaydnstheChoraleofSaintAnthony,onwhichthevariationsarebased.Theclimax,whichusesthelargestorchestrationofthepiece,occursatmeasure91,atthedominantofthetonicofBbMajor.

Thesecondstepistodeterminethesectionsofextroversionandintroversionofthepiece.Theextroversionincludesthemusicfromthebeginningtotheclimaxinmeasure91,andthesectionofintroversioncoversthepathfromtheclimaxtotheendofthestructure.

24

Thethirdandfinalstepistolocateareasoftensionandrelaxationonsmallerlevelsofthetwolargesections.Sincethissteprequiresmoresubtleanalysis,Iwillpointoutthemostinterestingelementsofcontrastandrepetitionintendedtobuildthemusicalstructure.

Inthefirstsymphonicarticulation,measures1to19,thebassoostinatoisplacedinthepartsofbassandcelloII,anditisbalancedbyacontrapuntaltexturecreatedbythemelodiesincellos,violas,violinsandwoodwinds.Thetensioncreatedbytheseventeenrepetitionsofthebassoostinatoisoneoftheelementsthatdrivethemovementtowardstheclimaxatmeasure91.Inmeasure15thenextelementsoftensionaredifferentrhythmsbetweenthetripletsinthestringsparts,versusthedupletsinthewinds,aswellasthestaccatofigurationbetweenwoodwindsandstrings.

Inthesecondsymphonicarticulation,measures20to39,thebassoostinatoispresentedincellosandbasseswithanewmajesticcharacter.Themainelementthatgeneratesthetensioninthissectionisthechangeofcharacterfromlegatotostaccatoandtheinclusionofanewthematicelementineighthnotes,whichwecanobserveinmeasure25.Theconductorshouldpayattentiontothebalanceoftheinstrumentsinthewholepiece,butfrommeasure21to30,thereisanexampleinwhichtheconductormusthelpthewindsectionandstringsectiontobebalanced.Anotherimportantelementofcontrastinthissymphonicarticulationtakesplaceintheseventhrepeatofthebassoostinato,inwhichthemainthemebecomessyncopatedinthefirstviolinsandisextendeduntiltheclimaxofthesectioninmeasure39.

25

Thethirdsymphonicarticulation,measures40to64,ischaracterizedbyacontinuousincreaseofthetensiontotheclimaxofthepiece.Thisarticulationbeginswithanew,radicalchangeofcharacter,fromtheexuberanceoftheprevioussection,tothedolcepianissimobetweenmeasures40and41.Thebassoostinatoisinthefirsteighthnoteofthegroupoffourinthecellosandbasses.Forfirsttimethebassoostinatostartstoswitchinstruments.Forinstance,inmeasure60thebassoostinatoisdistributedamongthepizzicatocellosandviolas,andthemelodyisheardinflute,clarinetsandbassoons.

Thefourthsymphonicarticulation,measures65to84,thecharacterandtexturechange.Thebassoostinatoappearsintheoboeswithanaccompanimentinstrings,andforfirsttimethekeyturnstoBflatminor.Inmeasure70,theharmonyreturnstoBflatMajor,andthemostimportantelementofcontrastinthissectionisthecrescendoinmeasure80.Inthelastrepetitionofthebassoostinatobeforetheclimax,thetensionisincreasedbythesubitopianoandthedifferententrancesofthehorns,piccolo,fluteandoboe.Inthefifthsymphonicarticulation,themainthemeofthework,theChoraleofSaintAnthony,isrestated.Atthispointtheclimaxisachievedatmeasure91withtheverylargeinstrumentationonthedominant.Frommeasure91totheendthemusicaltensionisreleasedbythereiterationofthekeyofBbMajor.Theprocessofthestructuresresolutionisaccomplishedbythediminuendoandritardandoseveralmeasuresbeforetheend.Thisritardandomustbecarefullymeasureduntilthepiecereachesastateoftotalrelaxation.

CopyrightLucaMarn2015

26

CHAPTERSEVEN:CONCLUSIONSThephenomenologyofmusicisconcernedwithhowthedirectperceptionofthe

soundthroughtheconsciousnesscreatesemotionaltensionandrelaxationintheactoflistening.Ourconsciousnessperceivesthemusicalstructureasaonenessthatopensthelistenertotranscendence.Thisperceptionofsoundscreatesastructurebalancedbyaclimax,apointofmaximaltension.

Eventhoughthephenomenologyofmusicissometimesinstinctivelypracticedbyperformers,theawarenessofthistheoryexplainedinpreviouschaptersallowsmusiciansaccesstoasystematicmethodthatwillhelpthemachieveatranscendentperformance.Ibelievethesephilosophicalideasandpracticesarevitaltotheworkofaconductor.AccordingtoCelibidache,theconductormustreduceallmultiplicitiesofsoundandcorrectlycorrelatethestructuretotheparticularspatiotemporalconditionsnecessarytoachieveoneness.

Thistheoryestablishesthatthemusicalexperienceiscloselylinkedtotheemotionalworldofhumanbeingsinaquestfortranscendence.Withoutthisunionofsoundandhumanconsciousness,musiccannotberealized.Theexplanationofthisapproachiscrucialbecauseitallowsustodefinetheroleoftheconductor.

Theconductormustfindthenaturalconnectionsbetweenthesounds,inordertoreachthisstateoftranscendence.Inordertoachievethisgoal,theconductormusthaveextraordinarymusical,psychological,andculturaltraining,allowinghimorhertomakeamultitudeofdecisionsmomenttomoment.Thisspontaneitymustbeguidedbyintuition,whichwillcreatethenecessaryconditionsformusictoemergeinadimension

27

ofunrepeatabletimeandspace.Ultimately,asCelibidachesaid,theconductormust,oncehehasgainedadeepunderstandingofthescore,releaseallknowledgetoletspontaneityarise.33

CopyrightLucaMarn2015

33TomZelle,SergiuCelibidacheanalyticalapproachestohisteachingsonphenomenologyandmusic.DMAThesis(ArizonaUniversity:1996),145.

28

REFERENCESBOOKSAstor,Miguel.AproximacinfenomenolgicaalaobramusicaldeGonzaloCastellanos

Yumar.Venezuela:ComisindeEstudiosdePostgradoFacultaddeHumanidadesyEducacindelaUniversidadCentraldeVenezuela,2002.

Berlioz,Hector.Ed.PeterBloom.Grandtraitd'instrumentationetd'orchestrationmodernes.NewYork:Brenreiter,2003.

Brahms,Johannes.Ed.HansGl.SmtlicheWerke,Band3:OvertrenundVariationenfrOrchester.Leipzig:Breitkopf&Hrtel,192627.

Celibidache,Sergiu.bermusikalischePhnomenologie.MnchenandAusburg:TriptychonVerlag,2001.

Clarke,David,andEricF.Clarke.MusicandConsciousness:Philosophical,Psychological,andCulturalPerspectives.Oxford:OxfordUniversityPress,2011.

Furtwngler,Wilhelm.Problemasdeladireccindeorquesta.TranslationinSpanishbyJacquesBodmer,unreleasedmaterial.

Furtwngler,Wilhelm.Deloficiodeldirectordeorquesta.TranslationinSpanishbyJacquesBodmer,unreleasedmaterial.

Husserl,Edmund.Laideadelafenomenologa.Madrid:Ed.F.D.FEspaa,1950.Jungheinrich,HansKlaus.Losgrandesdirectoresdeorquesta.Madrid:Alianzaeditorial,

1991.Miranda,Javier.FenomenologaMusical.Sevilla:PuntoRojo,2014.Sadie,Stanley.ed.TheNewGroveDictionaryofMusicandMusician.Oxfordmusic

online[electronicresource].NewYork:Grove,2007.SaintExupry,Antoinede.Thelittleprince.NewYork:Harcourt,Brace&World,1943.Stevenson,Angus.ed.OxfordDictionaryofEnglish.OxfordUniversityPress[electronic

resource]2010.Thakar,Markand.Counterpoint.YaleUniversityPress,NewHaven:1990.

29

Wagner,Richard.OnConducting:ATreatiseonStyleintheExecutionofClassicalMusic.Publicdomain,AccessedNovember20th2014.http://www.gutenberg.org/ebooks/4523

Zalta,Edward.ed.TheStanfordEncyclopediaofPhilosophy.[electronicresource]Stanford:WinterEdition,2014.

Zelle,Tom.SergiuCelibidacheanalyticalapproachestohisteachingsonphenomenologyandmusic.DMAThesisArizonaUniversity:1996.

ARTICLESA.F.C.Lamsicanopuedeserexplicadaintelectualmente.ACBNewspaper13/10/1993,

p.65.Celibidache,Sergiu.LadireccinorquestalsegnSergiuCelibidache.RevistaAmadeusn

25pp.40.44.12/1994.Celibidache,Sergiu.Lamsica,sinalternativa.ABCNewspapern101/10/1993p.29.DelMoral,Antonio.SergiuCelibidacheenbuscadelaverdad.ScherzoMagazine,pp.51

64.2/1987.Lippman,Edward.Fenomenologadelamsica.Quodlibet,30,pp.3342004.MarkandThakar.Tributetoateacher:AccessedonlineJanuary28th2010.

http://intelart.blogspot.com/2005_03_01_archive.html.VIDEOSRavelBolero.SergiuCelibidache1971.YouTubevideo,17,42.Postedbymiclu2011,

uploadNovember2sd,2011.http://www.youtube.com/watch?v=gy5Ve3338ESergiuCelibidacheonhisPhilosophyofMusicYouTubevideo,31,10.Postedby

1Furtwangler,uploadApril19th,2013.http://www.youtube.com/watch?v=SthKs40ClCY

SergiuCelibidacheLezionedifenomenologamusicaleYouTubevideo,37,34.PostedbyRobertodiMattiauploadJune7th,2013.http://www.youtube.com/watch?v=S9hvDv7OwRQ

Celibidachedocumentaryfilmpart1YouTubevideo,43,06.PostedbyClondyke42uploadDecember28th,2013.http://www.youtube.com/watch?v=h2Ihco_hZVk

30

Celibidachedocumentaryfilmpart2YouTubevideo,57,15.PostedbyClondyke42uploadDecember28th,2013.http://www.youtube.com/watch?v=ZHyAurs68jY

WEBSITESGoodRead.AccessedonlineMarch15,2015.http://www.goodreads.com/OxfordDictionaries.AccessedMarch13,2015.http://www.oxforddictionaries.com/OxfordEnglishDictionary.AccessedMarch13,2015.http://www.oed.com/StanfordEncyclopediaofPhilosophy.AccessedMarch13,2015.http://plato.stanford.edu/OTHERMATERIALSMarn,Luca.PersonalNotesonConducting(20062010)revisedbyEnriqueGarca

Asensio.Unreleasedmaterial.

31

VITALucaMarniscurrentlyservingasPrincipalConductoroftheUKPhilharmonia

andAssistantConductorofUKSymphonyOrchestraandUKOperaTheatre.ShehadpreviouslyservedasAssistantConductoroftheLexingtonPhilharmonicOrchestra,theNewPhilharmonic(Chicago),theNorthwestIndianaSymphonyOrchestra,theIllinoisStateUniversitySymphonyOrchestraandOpera.

Ms.MarinisanawardwinnerattheSevillesRoyalAcademyofFineArtsandXIInternationalConductingCompetitionMestreFerrzandshewontheCultureAwardinthefirsteditionofPremiosAndalucesdelFuturoin2009,ConductingAwardMusikenein2009and2010,andPremioJvenesJaen2014inArts.

ShehasconductedinmasterclassesandworkshopsacrossSpain,Italy,Portugal,AustriaandRomania.SheconductedperformancesoffullystagedproductionsofPuccinisLaBohemeandSuorAngelica,LloydWebersThePhantomoftheOpera,SchnbergsLesMiserables,OffenbachsTheTalesofHoffmannandDaronAgensLittleNemoinSlumberland,andmadeherdebutinChinaontourwiththeUKSymphonyOrchestra.

BorninLinares,Spain,Ms.MarngraduatedfromtheSuperiorSchoolofMusictheBasqueCountry,Musikene,whereshestudiesorchestralconductingwithEnriqueGarcaAsensio,adiscipleofSergiuCelibidache.SheearnedthemastersdegreeinorchestralconductingfromIllinoisStateUniversity,andiscurrentlyworkingtowardaDMAdegreeinOrchestralConductingattheUniversityofKentucky,wheresheisastudentofJohnNardolillo.

University of KentuckyUKnowledge2015

BASIC FUNDAMENTALS OF PHENOMENOLOGY OF MUSIC BY SERGIU CELIBIDACHE AS CRITERIA FOR THE ORCHESTRAL CONDUCTORLucia MarinRecommended Citation

Title PageAbstract Table of ContentsCHAPTER ONE: INTRODUCTIONCHAPTER TWO: AN APPROACH TO THE PHENOMENOLOGICAL METHODCHAPTER THREE: PHENOMENOLOGYCHAPTER FOUR: CELIBIDACHE'S BACKGROUND IN MUSIC AND PHILOSOPHYCHAPTER FIVE: SERGIU CELIBIDACHE'S PHENOMENOLOGICAL APPROACH TO MUSICCHAPTER SIX: THE PHENOMENOLOGICAL METHOD APPLIED TO THE FINALE OF THE BRAHMS' VARIATIONS ON A THEME BY HAYDN OP.56aCHAPTER SEVEN: CONCLUSIONSReferencesVita