Abstract

The text is primarily an analysis of Roman Ingarden's terms musical work and performance; the basic goal of this analysis is to find a tool, with which it would be possible to face the phenomenon of musical. To face means to enter, to approach. ťWhat is that in music, which makes us recognize the certain sound as musical?Ť is the basic question of this text, but the preliminary condition for a legitimate asking of this question is to rethink the understanding of music as formation of sound. This kind of understanding is common, not scientific or theoretical. The theoretical analysis shows its faultiness and at the same time renders Ingardens's terms deficient