Download Aeolian Harp: An Essay Concerning the Nature of Tone by Gunnar Bucht PDF

By Gunnar Bucht

Quite often conversing, the philosophy of song hitherto will be stated to strategy song, because it have been, from above or from outdoors. song, therefore envisaged, should be «absolute» or «sounding kinds in motion». it may be expression, have a linguistic that means, inform a narrative, be a manifestation of «the global as will and conceptualization», and reflect society’s inward contradictions. track is obvious as an task, occasionally as interactivity, now not least via an anthropological method during which prominence is given to its origins. This paintings is an try and opposite the argument, through taking the phenomenon of tone because the place to begin to paintings the best way as much as an knowing of the phenomenon of song, to make a philosophy of tone the basis of a philosophy of track. Such techniques have been already found in the author’s prior works, yet, being to be had purely in Swedish, should be enlarged the following.

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Extra info for Aeolian Harp: An Essay Concerning the Nature of Tone

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What Handschin formulates here is a theory, not only concerning the origin of music but also concerning its essence, its ontology. Before we proceed to enlarge on this theme, both the view taken and the man taking it should be placed in a perspective of the history of ideas in philosophy, namely the philosophy of music. 33 Someone may possibly have gained the impression than in Handschin’s case we are dealing with a theoretical musicology taken to extremes. He probably saw himself in this way, and Der Toncharakter carries the subheading Eine Einführung in die Tonpsychologie.

One reason may be Wagner’s reluctance to speak about his own music. He often held forth about the ideas underlying his creativity, and he often scrutinises his characters in a bid to explain their characters and actions. He could also come up with apt characterisations of other music. Another reason may be his reluctance – understandable in itself – to acknowledge influences, as evidenced in his correspondence with Franz Liszt. But in this particular instance he could instead have been pleased at having Schopenhauer as his precursor and prophet.

Eventually the original meaning, “place”, lapsed into oblivion and thoughts turned instead to God’s omnipresence without any limitations of space. In Psalms 139:7–9, we read: “Whither shall I go from thy spirit? or whither shall I flee from thy presence? If I ascend up into heaven, thou art there; if I make my bed in hell. behold, thou art there. ” In the Rabbinic scripture Midrash Rabbah we find the following statement: “He is the place of the world… We do not know whether G-d is the place of His world or whether His world is His place.

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