may make a direct comparison between the short story "Continuity of Parks" by Julio Cortazar, Print Gallery of MC Escher and the "Canon-tone" of the Musical Offering of JS Bach.
In this episode of the Bach composition found the real issue one of the many versions designed for German composer from the original proposed by King Frederick II of Prussia.
"real issue" of Frederick II of Prussia
This version is both rhythmic variations such as melodic and harmonic. The latter are characterized by their modulatory, ie the subject started in C minor, does not end in the original key but in this case makes it a higher pitch, that is in D minor.
This small piece
has two voices: the most serious draw a counter melody that has a rhythmic dynamism contrasts with the real issue, a middle voice appears on the second bar imitating counterpoint distance of 5 th upward. These two voices play a role in the modulatory process to D minor, because without the intervention of such a process would hear them as forced. Now, what was the intention of Bach by presenting a work consciously tonal instability causing the listener? As far the Musical Offering was "offering" the king in the form of puzzles to solve (ricercare, re-search), it is not difficult or unreasonable to say that this was one of them. The solution to this problem is not complicated: as the human ear perceives the range of 8 th as a cycle, and have it six steps of tones, what to do to be tonally "misplaced" is run six times in a row the canon, each one higher pitch than before, and so the latter would reach the initial key. However, "especially if we consider that this page was not written music for any instrument in particular, is also possible to read the message in this romp Bach: the Canon-tone" can rise infinitely ...
In Print Gallery found in an art gallery two people. One notes one of the prints on display. It consists of a boat in the water, behind houses, buildings that extend to the right, a young man on a roof seems to rest, below, leaning on a window, a woman seems to see, then down the window there is a roof covering an art gallery where two men appreciating recorded. One of them is one that is on a boat in the water, behind houses, buildings that extend to the right ...
In "Continuity of Parks", the park, is not the city of Escher? , The man who reads literature, is not the man who sees the engraving? , Did not finish both engaging to the point that end being part of the novel and recorded respectively? , The two points that are in the final paragraph of the story, is not equivalent to the signing of Dutch engraver, printed in the center of the spiral that goes with the job?
look a little more the canon of Bach. We said that the deepening of the voice makes a counterpoint, which in turn is imitated by the middle voice while the upper voice sings the real issue. Every voice seems to have its distinct role. Spinning finest But if we start to give us with some surprises:
JS Bach, Canon 5 in the "Ca ne p or tones." Imitation imitated.
With blue arrows mark the actual imitation, in red circles, the others! Is it possible? The voice is imitated imitating? Who imitates whom? ... The real issue, we said, is presented by the upper voice:
With blue arrows mark the actual imitation, in red circles, the others! Is it possible? The voice is imitated imitating? Who imitates whom? ... The real issue, we said, is presented by the upper voice:
The real issue completed and anticipated
Is supplied only by the upper voice? The cunning silence introduced in the seventh bar silences the voice to be heard in charge of the real issue at that time giving the task to the middle voice, which completes the melody with a rhythm that is close to the original, Federico II. However, shortly thereafter, the upper voice as well complete the song. So what does the second voice can be understood as an anticipation, that, do not forget, was simultaneously announced by the third voice behind a bar (panting dialogue raced down the pages like a rivulet of snakes, and felt that everything was decided from the beginning. [...] The dogs were not barking, and did not bark. The steward would not be at that hour, and was not. ").
This ambiguity in the boundaries, is not the same city or park escheriana Cortazarian? We
here, by way of curiosity, do mention the fact that you can run "infinitely" the tone of Bach canon. Robert Shepard, a psychologist, devised an artifice by which manages to give the illusion that it ascends without actually doing it. The method is given an ascending scale, run with decreasing intensity and, simultaneously, to hear the same scale an octave lower, but with rising intensity. The result, as we said, is that seems to rise, but does not rise, giving the possibility of repeating the process ad infinitum.
Shepard tones
Escher speaks of the arts with the visual arts; Cortazar speaks of literature with the literature speaks of "Bach music with the music?
may make a direct comparison between the short story "Continuity of Parks" by Julio Cortazar, Print Gallery of MC Escher and the "Canon-tone" of the Musical Offering of JS Bach.
JS Bach, "Canon-tone" of The Musical Offering, 1747
MC Escher, Print Gallery, 1956
Is supplied only by the upper voice? The cunning silence introduced in the seventh bar silences the voice to be heard in charge of the real issue at that time giving the task to the middle voice, which completes the melody with a rhythm that is close to the original, Federico II. However, shortly thereafter, the upper voice as well complete the song. So what does the second voice can be understood as an anticipation, that, do not forget, was simultaneously announced by the third voice behind a bar (panting dialogue raced down the pages like a rivulet of snakes, and felt that everything was decided from the beginning. [...] The dogs were not barking, and did not bark. The steward would not be at that hour, and was not. ").
This ambiguity in the boundaries, is not the same city or park escheriana Cortazarian? We
here, by way of curiosity, do mention the fact that you can run "infinitely" the tone of Bach canon. Robert Shepard, a psychologist, devised an artifice by which manages to give the illusion that it ascends without actually doing it. The method is given an ascending scale, run with decreasing intensity and, simultaneously, to hear the same scale an octave lower, but with rising intensity. The result, as we said, is that seems to rise, but does not rise, giving the possibility of repeating the process ad infinitum.
Escher speaks of the arts with the visual arts; Cortazar speaks of literature with the literature speaks of "Bach music with the music?
may make a direct comparison between the short story "Continuity of Parks" by Julio Cortazar, Print Gallery of MC Escher and the "Canon-tone" of the Musical Offering of JS Bach.
MC Escher, Print Gallery, 1956 CONTINUITY OF PARKS
Julio Cortázar
had begun reading the novel a few days. The urgent business left, opened it again when returning by train to the farm, is slowly leaving interest in the plot, by drawing the characters. That evening, after writing a letter to his attorney and discuss with the butler a matter of sharecropping, returned to the book in the quiet of his study which looked into the park of oak trees. Sprawled in his favorite chair, his back to the door that had bothered him as an irritating intrusion possibility, let his left hand again and again caress the velvet green and began to read the last chapters. His memory retained without effort the names and pictures of the characters, the fictional illusion him almost immediately. Enjoyed the almost perverse pleasure of going line by line ripping his surroundings, and feel that while his head rested comfortably in the high-backed velvet, that cigarettes were at hand, that beyond the windows danced the evening air under the oaks. Word by word, absorbed by the sordid dilemma of the hero, letting go the images were arranged and took on color and movement, witnessed the last meeting in the mountain cabin. The woman arrived first, apprehensive; now the lover came, his face cut by the backlash of a branch. Admirably licked her blood with her kisses, but he rebuffed her caresses, he had not come to repeat the ceremonies of a secret passion, protected by a world of dry leaves and furtive paths. The dagger warmed to his chest, and underneath liberty pounded squat. Panting dialogue raced down the pages like a rivulet of snakes, and felt that everything was decided from eternity. Until such caress lover's body tangled as if to keep him and dissuade him, sketched abominably the figure of another body that was necessary destroy. Nothing had been forgotten: alibis, unforeseen hazards, possible mistakes. Since that time each instant had its use carefully allocated. Merciless review twice interrupted only for a hand caressing his cheek. Began to get dark.
But look now, rigidly fixed to the task which awaited them, they separated at the cabin door. She was to follow the path that led north. From the opposite way he became a moment to watch her run with her hair down. He ran in turn, crouching in the trees and hedges, to distinguish in the fog of dusk the mall leading to the house. Dogs should not bark and no bark. The butler would not be at that hour, and was not. He went up the three porch steps and entered. From the blood in his ears galloping came the woman's words, first a blue room, then a gallery, a carpeted stairway. At the top, two doors. No one in the first room, no one in the second. The door of the room, and then the sword in hand, the light from the windows, the high back of a green velvet chair, the man's head on the couch reading a novel.
had begun reading the novel a few days. The urgent business left, opened it again when returning by train to the farm, is slowly leaving interest in the plot, by drawing the characters. That evening, after writing a letter to his attorney and discuss with the butler a matter of sharecropping, returned to the book in the quiet of his study which looked into the park of oak trees. Sprawled in his favorite chair, his back to the door that had bothered him as an irritating intrusion possibility, let his left hand again and again caress the velvet green and began to read the last chapters. His memory retained without effort the names and pictures of the characters, the fictional illusion him almost immediately. Enjoyed the almost perverse pleasure of going line by line ripping his surroundings, and feel that while his head rested comfortably in the high-backed velvet, that cigarettes were at hand, that beyond the windows danced the evening air under the oaks. Word by word, absorbed by the sordid dilemma of the hero, letting go the images were arranged and took on color and movement, witnessed the last meeting in the mountain cabin. The woman arrived first, apprehensive; now the lover came, his face cut by the backlash of a branch. Admirably licked her blood with her kisses, but he rebuffed her caresses, he had not come to repeat the ceremonies of a secret passion, protected by a world of dry leaves and furtive paths. The dagger warmed to his chest, and underneath liberty pounded squat. Panting dialogue raced down the pages like a rivulet of snakes, and felt that everything was decided from eternity. Until such caress lover's body tangled as if to keep him and dissuade him, sketched abominably the figure of another body that was necessary destroy. Nothing had been forgotten: alibis, unforeseen hazards, possible mistakes. Since that time each instant had its use carefully allocated. Merciless review twice interrupted only for a hand caressing his cheek. Began to get dark.
But look now, rigidly fixed to the task which awaited them, they separated at the cabin door. She was to follow the path that led north. From the opposite way he became a moment to watch her run with her hair down. He ran in turn, crouching in the trees and hedges, to distinguish in the fog of dusk the mall leading to the house. Dogs should not bark and no bark. The butler would not be at that hour, and was not. He went up the three porch steps and entered. From the blood in his ears galloping came the woman's words, first a blue room, then a gallery, a carpeted stairway. At the top, two doors. No one in the first room, no one in the second. The door of the room, and then the sword in hand, the light from the windows, the high back of a green velvet chair, the man's head on the couch reading a novel.
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