Abstract: The subject of this research is the issue of musical time within music of the XX century. Within the creative practice of this period, this issue is especially pressing. Organization of the sound events in the time continuum, comparable by level of density, comprises the reflection of the author’s inner world. Various philosophical space-time concepts are compared by the author with the examples of their understanding in the modern composing practice. The author mentions various concepts of musical time: “spherical time” of Bernd Alois Zimmermann, the concept of single unity of sound organization through the guidance by time parameter of Karlheinz Stockhausen (theory of “single unified time field”). Italian composer Salvatore Sciarrino did not theorize his time position. But in his oeuvres, this problem is constantly at the forefront, and gets various commentaries. The scientific novelty is defined by the reference to the work of Sciarrino, which has not been thoroughly studied within Russian musicology. Despite this fact, we can assert that he is a living classic of the new music. For the first time the author refers to the descriptions of the individual compositional method with the time-space aspects. The author's creative search in the process of the research enters into a resonance with the modern concepts Gilles Deleuze.  

Keywords: New Music, Sciarrino, Musical time, Bergson, Deleuze, Musical Composition, Philosophy of Music, Contemporary composer creativity, Musical concept of time, Chronos and Aeon

References:
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Abstract: The subject of the research is a philosophical understanding of the problem of time in the new music. Music as an art of time particularly acute problem confronts composer individual understanding of space-time categories. In the XX - XXI centuries. When the concept of musical time and the organization of sound events in the time continuum, correlated to the degree of density, constitute the author's reflection of his inner world, its philosophical understanding is more than relevant. Referring to the various philosophical concepts of time and projecting them on the creative ideas of composers of new music, author, building on the concepts of Chronos and Aeon in the interpretation of the French philosopher Gilles Deleuze, compares them with the concepts of time B.-A. Zimmermann and K. Stockhausen, refers to "the horizon of consciousness" Husserl and Bergson's conception of time, found their creative expression in music of Italian composer Salvatore Sciarrino. Using as a tool for investigating the empirical method, the author comes to the conclusion regarding the generality of philosophical and musical concepts of time. Referring to the statements of the composers, explains his philosophical and sound concept, including O. Messiaen, B.-A. Zimmerman, K. Stockhausen, S. Sciarrino, the author puts forward a hypothesis as to what new music - it is not "art time", and reflection time.

Keywords: Aeon, Chronos, E. Husserl, space and time, new music, Gilles Deleuze, musical composition, K. Stockhausen, reflection time, B.-A. Zimmerman

References:
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Sciarrino, S. L'opera per flauto. Vol. 2: Addio case del vento, L'orologio di Bergson, Morte tamburo //URL:http://www.ccmm.ru/index.php?page=studio&part=repertoire&composer=sciarrino&work=clock (data obrashcheniya: 10.01.2013).
Sciarrino S. Carte da suono scritti 1981-2001 // CIDIM. Novecento, 2001, 339 s.
Savenko S. Karlkhaynts Shtokkhauzen//URL: http://www.opentextnn.ru/music/personalia/schtokhauzen/ (data obrashcheniya: 13.01.2013)

Abstract: The subject of the research is the problem of time in the new music, considered in the context of philosophical reflection. The category of time is considered through a prism of philosophy and new music. Two readings of time - time Chronos and Eon's time, according to the statement of the French philosopher G. Deleuze, are opposite. Music is defined substantially by the ordered current of time.Research method is based on a comparative analysis of philosophical concept and aesthetic-philosophical aims composers of the second half of the twentieth century. These settings are decisive in the spatial organization of the musical fabric. Structuring musical time and its various concepts is considered in a context of musical ideas of the Italian composer S. Sciarrino. Among compositions S. Sciarrino of analyzed in article, "Vanitas" - a huge paraphrase of a canzone of Stardust where the author addresses to emptiness Eon's metaphor. Opposing to Chronos and Eon as two forms of time, properties of the first is that it is limited and infinite. Eon is also boundless as the future and the past, but as an instant. S. Sciarrino's aspiration to the musical forms, adequate processes of activity of consciousness, and memory the Theory of duration of A.Bergson becomes one of the corresponding conclusions of article, is also connected with his theory of memory. By means of properties of memory the past and the present aren't mutually, they unite unity of knowledge.Scientific novelty of the paper is that for the first time analyzed the works of Sciarrino in the context of space and time, and for the first time carried out a comparative analysis of the music of the second half of the twentieth century, from the standpoint of philosophical categories.

Keywords: Eon, Husserl, Bergson, Sciarrino, New music, space and time, Deleuze, musical - philosophical, emptiness, musical time

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