Abstract

Luigi Pareyson’s Theory of Formativity suggests some cues to Aesthetic of music. In his main works the author addresses, both directly and indirectly, problems like the relationship between music and meaning, the temporal nature of music and the dualism between musical work and interpretation. The correspondence between form and contents, the dualism of forming form and formed form, the analogy between person and work of art are the aesthetical principles in Pareyson’s works that propose an idea of music as a sound form provided with personal meaning, a rhythmic sequence isomorphic to human soul, a complete structure that generates infinite readings. This image of music leads us to a comparison with the ideas of some of the main philosophers of last century like Suzanne Langer, Giselle Brelet, Ernst Bloch, Nelson Goodman and Peter Kivy, who have tried to answer the questions concerning the nature of music. Moreover Pareyson’s Theory yields to an identification of improvisation as a paradigm of musical formativity.