Paradoxes of Musical Hearings

This work deals about the paradoxes of musical hearing and perception, in the field of auditory illusions, whose potential leads our perception to subjective or "deceptive" evaluation of sound stimuli. These various sound stimuli will be firstly described and subsequently used in various ways in the compositional process. The main points within this text are the formation of basic categories of different types of auditory illusions, based on their origin, expression, characteristics and common general conditions for their correct function. One of the auditory illusions, which is used in musical demonstrations and the graduation composition as a compositional tool, was tested trough a psychoacoustic experiment before using it. This is a kind of bistable sound deception, that was created to detect the influences and differences in perception in its application to various acoustic instruments. On this effect will compare the subjective responses of two different categories of people. Selected auditory illusion, that are suitable for the compositional use are processed in various ways into short studies. These studies will be described in terms of recommended options for instrumentation, structural principles and impact on overall stylistics. Another point of the text are the musical expamples from composers of contemporary classical music, who have inspired them consciously or unconsciously. The conclusion of the text is an analysis of the graduate thesis called Hyperkrychle (four-dimensional body), which represents the main projection of auditory illusions into a composition in the form of a time-sound simulation, where the imaginary fourth dimension is the ability of a diverse subjective evaluation of our perception