ABSTRACT
Scholarly interest in the processes of composing in their entirety and with all their associated requirements and conditions is a relatively recent phenomenon in musicology. Friedrich von Hausegger, the music critic and lecturer in aesthetics and the history of musical art, was probably the first scholar to deal extensively and in several publications with artists' creative processes by using more than just the available scores and work sketches. Composers' observations on specific aspects of the process of composing are widely available. The more extensive studies focusing on artworks tackle their task energetically. They employ not only all available written documents but also sound files, the composers' work protocols, interviews and, in some cases, video recordings as well. The conception and elaboration of artworks incorporate individuals' ideas. The relationship between humans and the things they use to act cannot in any way be described as the relationship of an autonomous subject to a totally available object.
