https://doi.org/10.31648/hip.429
Music as a phenomenon is not only a deep source of aesthetic pleasure, but also an inspiration to philosophical reflection. The mysterious nature of music makes the question about its inner content still unresolved. The main epistemological difficulty is associated with the problem o f meaning, namely, whether music refers to the reality existing outside its purely sound structure (melody, harmony, and rhythm)?; or, in other words, whether the musical form is a justified need to express extra-musical ideas - thoughts, feelings, or other sensations? The aim of this study is an attempt to answer the question: What is music from the point of view of creative process analysis? According to my assumption, a full understanding of the phenomenon of music - if at all possible - requires not only the study of form and content, but also the process of its creation in the mind of an artist. In this context, I discuss the creative strategy of three great composers: Mozart, Beethoven, Chopin, and on this basis I try to formulate a definition of music. I also consider the influence of musical semantics on the recipients’ emotions.
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