Topophilia—Space for Human Creation and Interpretation

Topophilia, understood as a form of relationship between humans and their environment, can manifest in diverse ways—not only across various domains of art and life but also within the realm of music. This article seeks to expand the thesis of topophilia as a category defining the musical space of creation, performance, and perception of a musical work. Topophilia is seen here in the context of human activity in the artistic dimensions—philosophical, creative, architectural, and environmental. The methodological background is derived from the philosophy of place, phenomenology of perception, and musical analysis. This provides the opportunity to apply hermeneutic–philosophical analysis with elements of the theory of place. The thesis of this study is probably one of the first approaches to the category of topophilia in musical analysis, examining the style of composers, such as J.S. Bach, F. Chopin, K. Szymanowski, W. Lutosławski, A. Webern, and I. Xenakis, enriched with elements of musical performance.