By Gunnar Bucht
As a rule talking, the philosophy of tune hitherto might be acknowledged to process song, because it have been, from above or from outdoor. tune, therefore envisaged, might be «absolute» or «sounding varieties in motion». it may be expression, have a linguistic which means, inform a narrative, be a manifestation of «the global as will and conceptualization», and reflect society’s inward contradictions. song is noticeable as an task, occasionally as interactivity, no longer least via an anthropological process 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 start line to paintings the best way as much as an figuring out of the phenomenon of tune, to make a philosophy of tone the basis of a philosophy of tune. Such concepts have been already found in the author’s past works, yet, being to be had simply in Swedish, can be enlarged right here.
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Extra resources for Aeolian Harp: An Essay Concerning the Nature of Tone
Much later, the philosopher Tommaso Campanella echoes this tradition with the statement: “The Lord is the dwelling of His world but His world is not His dwelling” (cit. Rum, människa, musik, p. 15). This equation of space and God is only possible in monotheist religions and, accordingly, not in the theology of ancient Greece. ”, a concentrated philosopho-religious pronouncement of the nature of being. In purely musical terms, this vision, reminiscent of Parmenides and the Eleans, is represented with the aid of the various possibilities of twelve-tone technique, where the audible result is an experience of symmetry, of a system both closed and wide open, symbolising God’s infinity.
Space, then, is man’s form of life. Man’s upright gait causes him to be integrated with a system of axes, horizontal and vertical, from which three lines of direction crystallise out: up-down, forwards-backwards, right-left (sideways). These directions differ in meaning and significance. Up-down is, so to speak, in the nature of things, indicative as it is of man’s position twixt heaven and earth. It is man’s inevitable predicament, meaning that experience of height and depth is elementary, existential, the very precondition of human life.
The “other concepts” apostrophised by Einstein can be termed a development of Newton’s relative space – that is, quite simply, the theory of relativity, the kernel of which is that the beholder’s physical position decides his judgement of both space and motion and, with them, time. Other spatial concepts have also been called into question, in particular three-dimensionality, whose first great name is Euclid. In modern scientific thought, the three-dimensionality of space or the four-dimensionality of space-time is seen as a coincidence, justified only by experience.