Since the early part of the 20th century, the conception of space and time in music has changed from that of former centuries. <Placeless musical space>, <l'instant musical>, <Konzentration auf das Jetzt>, these phrases by A. Schoenberg, P. Boulez, K. Stockhausen respectively seem to be the examples which reflect the fact. It might be brought from the destruction of tonal and measured structure and in its root you will see the new development of the phenomenological philosophy. For example, P. Boulez's <labyrinthe musical> coincides with M. Merleau-Ponty's idea, <Le temps n'est pas une ligne, mais un reseau>. From this point of view I have studied the works of C. Debussy, A. Schoenberg, I. Stravinsky, A. Webern, P. Boulez, etc, laying great emphasis upon the modern philosophical works of H. Bergson, E. Husserl, J. -P. Sartre, Merlau-Ponty, etc, which constitute the background of them. In this respect, I owed much to the contemporary French aesthetics of music established by P. Souvtchinsky, G. Brelet, E. Ansermet and Boris de Schloezer. And I intend to elucidate what the musical space and the musical time mean in the 20th-century music.
