Selected aspects of west-European and oriental ontologies of singing sound

There are two distinct views on sound in the modern culture: Oriental and West-European. Euporean variant consists in the philosophy of singing sound, which is derived from the understanding of the boundary of your body (‘I-You’ ratio) and its reference to the boundless outer space. The singing sound is oriented on movement from the corporal source into the out world, whilst its cognition is based on the relation between corporal source and the surrounding reality. The Oriental philosophy of singing sound rests upon the sense of ‘being written’ into the outer multi-faced world (‘I-I’ ratio). The space of singing sound concentrates on the inner movement in an individual and in the endlessly revealing sound subspaces of appearing overtones. Thus, it can be stated that within the methodological approach to learning singing sound there are two major branches. The former is about the process of understanding coming through endless attentive listening and recognition of its meanings during the audition as a result of having been concentrated on the informative nature of timber and its endless revelation. What interesting in the study of singing sound is the timber aura and concealed energy of the sound. The latter direction of sound studies - mainly characterizing the West-European ambiguous field of study on music sound - is certain abstraction from studies of singing sound aura and its concentration on its semantic interrelations, relations, combinations of certain sounds, namely: their co-existence. Therefore the attitude to sound as an aim in itself (East) and as to a tool (West) gives rise to distinct ontologies of sound, which fact should be taken into account when coming up to study world singing cultures.