TY - JOUR N2 - In The Work of Music and the Problem of Its Identity by Roman Ingarden we are presented with a philosophical theory of the structure of the musical work. The author includes melody, rhythm and harmony among the primary elements of the musical work while dynamics, tempo and colouration (sonoristics) are classified as its secondary elements. The elements designated by the score constitute a schematic prescription for creating a particular work. Still, the scheme also includes numerous gaps and indeterminacies which can be filled in only through performance which makes the work an individualized concretum. However, it is puzzling why the list of the elements of the musical work does not include articulation. In this article I claim that the absence of articulation in the theory of the structure of the musical work indicates its omnipresence, thus the broader we understand the term articulation, the better it penetrates into the remaining elements of the musical work, preserving its distinctiveness at the same time. L1 - http://www.czasopisma.pan.pl/Content/118087/PDF/2020-04-PFIL-28-Krawiec.pdf L2 - http://www.czasopisma.pan.pl/Content/118087 PY - 2020 IS - No 4 EP - 485 DO - 10.24425/pfns.2020.135085 KW - aesthetics KW - articulation KW - R. Ingarden KW - musical work KW - musicology KW - phenomenology KW - philosophy A1 - Krawiec, Andrzej PB - Komitet Nauk Filozoficznych PAN PB - Wydział Filozofii Uniwersytetu Warszawskiego DA - 2021.02.25 T1 - Absence or omnipresence of articulation in Roman Ingarden’s philosophical theory of the structure of the musical work? SP - 473 UR - http://www.czasopisma.pan.pl/dlibra/publication/edition/118087 T2 - Przegląd Filozoficzny. Nowa Seria ER -