Ensaio sobre a natureza transcendental na performance musical: conceituação e paralelos soteriológicos

Abstract

This essay aims to clarify the concept of transcendental experience in musical performance, as a way to understand, for further research, how much it can be achieved and what would be - if any - its soteriological function, i.e., of human salvation, in life of the human being. To this end, it first seeks to clarify the linguistic confusion about the transcendental term refer-ring to music and, through parallels with the ancient philosophies of the Hellenes and their understandings of experience, to discern how it occurs during the performance – or if it does, in fact – as well as understanding its limitations in this one through the limits of human knowledge regarding the transcendental. The methodology, initially, will be entirely theoret-ical, seeking bibliographical sources to substantiate any hypothesis that may arise through the interdisciplinary parallels made. Based on this, I conclude that it is something immanent, not transcendent, in which the performer reaches a state of implicit conceptualization, result-ing from the automation of studies and close to states of great tranquility and non-duality – i.e., the barrier between subject and object becomes more tenuous.