Abstract
The author's main concern is to trace how a person's musical formations allow insights into his or her subjective reality. Based on the concrete use by the player of the instrument with its specific features, a perspective on musical improvisation is opened which makes it comprehensible both as a complex operative structure with numerous effective factors and in its psychological depth dimension. With the term »aesthetics of world towardness« of a person, the author draws out physical aspects of the personality which become especially apparent when a person produces music.
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