Roman Ingarden’s theory of the musical work is usually criticized for not being able to handle the problems of avant-garde music. The most important reason for this criticism is its dependence on the musical score and, generally, on the conventions of pre-twentieth century European classical music. In my article I offer a revision of Ingarden’s theory, which on the one hand leaves its substantial arguments intact and on the other allows the theory to tackle the problem of avant-garde music successfully. I ultimately hope to demonstrate that this revised theory is suitable for dealing with the problem, and can yield fruit when applied.
How to Cite:
Lipták, Michal. “Roman Ingarden’s Problems with Avant-garde Music”. Estetika: The Central European Journal of Aesthetics 50, no. 2 (2013): 187–205. DOI: http://doi.org/10.33134/eeja.109