In Politics, Aristotle, to address the issue of youth education, devotes much space to explain the music as a compulsory subject in the delivery of public education. Those times of ancient Greece in its educational system had four disciplines from which the first three are the footnote clearly useful (reading and writing, gymnastics and drawing), while the fourth (music), no. Hence the need for such explanation.
On the other hand it must be remembered that the Greek thinker, and war is based on peace, the former subordinate to it, the work is based on the rest, one subordinate to it. And to get the music from their properties to generate rest and pleasure, it is also absolutely necessary in the education of a free man, who must seek more leisure than work (but only after you have worked, and the study is laborious) more peace than war.
And if, in principle, music it is necessary, but useless to discuss music, we propose, using some Aristotelian categories, then present a futile but necessary conception of music.
As is well known, the Aristotelian ontology recognizes three categories to explain the Man in the vital, vegetative life, sensitive life and intellectual life. If you understand music as a human construction made in the image and likeness of man, will it match between their characteristics and those of humans.
Thus, the vegetative life of man is represented in the music aspect rhythmic, as they are the ones that best express the issues of the body, they are closely linked to the Aristotelian concept first mentioned here.
sensitive life is matched by the melodic aspects of music, explaining that this is largely romantic idea about a melody expresses the composer's emotional life.
intellectual life is represented in music by his harmonic thinking or simultaneous sounds. The harmony was variable and is considered the most intellectual of music.
And the ring?
Thus, the vegetative life of man is represented in the music aspect rhythmic, as they are the ones that best express the issues of the body, they are closely linked to the Aristotelian concept first mentioned here.
sensitive life is matched by the melodic aspects of music, explaining that this is largely romantic idea about a melody expresses the composer's emotional life.
intellectual life is represented in music by his harmonic thinking or simultaneous sounds. The harmony was variable and is considered the most intellectual of music.
And the ring?
I can not accept unconditionally the difference between height and pitch as often exposure. I think the sound is manifested by the bell, and the height is a dimension of the ring itself. The ring is thus the great territory within which is located the district level. The height is not measured but the ring in one direction. And if possible, with timbres differentiated only by the height, form what we call melodies sound images, sequences of internal relations which originates an effect of a course, must also be possible, using the other dimension of the ring, which we call simply " Ring, which sequences provide cohesion to act with a kind of logic entirely equivalent to that logic which satisfies us The melody consists of heights. This seems like a fantasy in advance and it probably is. But I firmly believe to be performed. And I firmly believe it will contribute in an extraordinary way to increase the enjoyment sensitive, spiritual and soul that art offers. Also strongly believe that this will bring us closer to our dreams we reflect, that broaden our relationships with what today seems still, giving life to our life to what for now is dead to us just because our ties with it are minimal.
Ring bells! What finer the sense that perceives this difference, what spirits as well developed they can find pleasure in things so subtle!
And who dares to venture theories here!
A. Schoenberg, Harmony Treaty. Cap. XXII.
Madrid: Real Musical, 1979
And who here dares to say it better than the friend Arnold!
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