On the Appoggiatoʼs Crescendo as a Phenomenon of Establishing the Predicate of ʽBeauty’ in Céline Dion’s Lying Down – a Kantian-Husserlian Perspective

In the album Courage from 2019, Céline Dion released the song « Lying Down ». We found this song special because here we see some similarities between Sia’s vocal stamp in some songs and Céline Dion’s. We know, thus, a Céline Dion that combines a classic line with innovative pop elements, as we are already used to. What surprises in this song is the “strength” of the voice, which can easily send you to some philosophical perspectives. It is about the insistent ascendancy of the word “trust”, these coincidences often being found in Sia Furler. In our case, we want to use the Kantian perspective to talk about the predicate of beauty existing in all these “throws” and withdrawals vocalized from the same word – “trust” – which, from a philosophical point of view, we can call, without mistaking, “hermeneutic returns to words” (Maria-Roxana Bischin). We will try to analyze the words in this song and translate them into a literary-philosophical, but also a musicological perspective. Current research on Céline Dion is scarce, which is also due to the fact that the actress is still alive. But, as Dario Sarlo managed to write a rich Ph.D. thesis about the violinist Jascha Heifetz, our goal is to publish a scientific article based on this song signed by Céline Dion. We will also point out the elements of symbolism existing in these verses, we will focus on fermata’s modulations that make up the Kantian predicate of Beauty (see, in this sense, the Critique of Pure Reason) in the hypostasis of an infinite judgment.