By Gunnar Bucht
In most cases conversing, the philosophy of tune hitherto should be acknowledged to process tune, because it have been, from above or from open air. track, hence envisaged, may be «absolute» or «sounding varieties 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. song is noticeable as an task, occasionally as interactivity, no longer least via an anthropological process within which prominence is given to its origins. This paintings is an try and opposite the argument, via taking the phenomenon of tone because the place to begin to paintings the way in which as much as an realizing of the phenomenon of song, to make a philosophy of tone the root of a philosophy of song. Such recommendations have been already found in the author’s earlier works, yet, being on hand in basic terms in Swedish, may be enlarged the following.
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Additional info for Aeolian Harp: An Essay Concerning the Nature of Tone
Nevertheless there is a fundamental difference which can be formulated as follows: mathematical-physical space, that which incarnates idea and conception, has no central point, is uniform, homogeneous, has no qualitative differences between different points/locations, is of infinite extent in all directions. Experienced space, by contrast, space as experience, has a centre determined by the experiencing individual’s position in the space where his upright walk is the determinant. Places/locations are qualitatively different and man divides space according to content.
E. looks towards mathematical-physical space. This does not mean that we must necessarily believe in the harmony of the spheres, it is just another way of saying that music is Janus-faced, is both nature and nurture. We have now finally reached the point where tone, and with it music, can be placed at the centre of things. Background and preconditions have been created, the framework is in position. The question now is how man experiences and fashions tone and music on the basis of his perception of space and his notions of it.
The situation resembles that occurring when August Strindberg in Stora Landsvägen, his last completed drama, brings in a Japanese desirous of experiencing “the purifying, atoning power of fire” and asking the huntsman in the play to gather his ashes into the most previous of vases afterwards. The vase is to be inscribed with the Japanese man’s name, and he has been named after his native city. That city is called Hiroshima, and Strindberg’s text, once again, was written thirty-odd years before the event which has given the city a place in world history.