Towards a Possible Epistemology of Music an Ontogenetic Trajectory through Which a Doctoral Thesis Can Pass
If we look at a doctoral research with a filter of content and form, we observe two ideational substances. The content (or background) and form (or framework) both represent, as ideational substances, the existential nature of the research. Depending on the points of interest of the valoric density of the work, the content or its form are emphasized in elaboration. The form of the work could follow an epistemological organization of the approach on a pattern resulting from Karl Popper's philosophical study. The 11 stages of a scientific pathway crystallizes its ontogenetic trajectory from the observation of a fact and concludes with the predictability of the hypothesis. As for the content, pertaining to any of the three areas of knowledge, it only remains, if the researcher decides accordingly, only to cling to the protocol of the phases (or stages) of the 11-step framework. Presuming that the examination of an uncertain reality, within the case of the musical, with certain methods of knowledge, the apparent paradox of the science-art-methodology triad would thus verify its authenticity. The focus is turned towards the consciousness of the form (of the framework) and not on the content (of the background) of a research.