The idea that learning requires an appreciation of music is a thought came to me some time ago, and difficult to let go. The pleasure one gets when listening to good music is not immediate, presupposes a previous activity, which will need to in this article, which facilitates the work be properly perceived.
Of course, as Hume had already said, the aesthetic education, the development of the senses, the provision of a broad collection of other works to allow for comparison, are needed to make man a true critic. However, with respect to art forms that involve time, the need for some sort of prior knowledge to train the viewer is sharp.
In cinema, this condition becomes evident. The commercial failure of the film "hard to watch" is present. The primacy of the aesthetic elements of the film about what makes it intelligible and enjoyable is crucial to their exclusion from the popular movie theaters. Today, the success of a film is intimately connected to your entertainment purposes, ie, the unrestricted use extra-cinematic elements to make it attractive. The music is perhaps a lesser extent impaired. The technical and financial resources for their creation are incomparably lower than in the movies and can offer to its creator greater creative independence. I do not want, however, divert the discussion to what actually occurs in artistic circles today, because he could not do more than raise a mere hypothesis.
The question that really matters is the relationship between time, which depends on the music and music appreciation. It is no exaggeration to say that time is the existential condition of music, that is, time is the locus where the music finds its materiality. Moreover, insofar as the music is structured in the time it takes its own way: an essentially fragmented.
The music is endlessly divided into parts whose existence is absolutely independent of each other. Every moment in which the song appears reveals a material part of something whose essence transcends it. More radical is the cannibalistic nature of these fragments, each of which is determined by an essential requirement that its predecessor is completely annihilated. The temporal becoming only provides a place for a fraction of the music each time, with the death of one of these parts the condition of its existence, until his last piece also has a fleeting life. It is thus condemned to cruel provisional, as the music unfolds.
This means that the music does not exist or can exist in its entirety. His complete requires its own future existence. Therefore, all the music you can only subjectively, it is the result of a subjective construction process, whose success, moreover, is not free. It is precisely this necessary intervention of the subject in the constitution of the song in its entirety, which will give the "knowing" a decisive role in music appreciation.
The best way of approaching the question is to ask ourselves what kind of knowledge is this. I reject, albeit hastily, in response, any kind of technical knowledge regarding the handling of instruments, theoretical knowledge, harmonic and rhythmic rules needed in the composition, or even knowledge about the history of music. These are supplementary information, which, despite offering a particular perspective and insider's music is not necessary for your enjoyment.
The peculiarity of this knowledge is particularly what helps the viewer to understand the song in its entirety, that is what enables the perception of your shape. The notion of form, therefore, plays a central role, and should be carefully explored. Without realizing the formal structure of music not You can enjoy it, although it can of course wonder with passages taken in isolation or particular elements, but that in itself is not the real taste.
not want to exclude the rich aesthetic experience of the event, which should include in its bloom numerous subjective factors, as it involves psychological and cultural experiences by certain individuals extremely complex. I think however, that the knowledge of how to put in a key position, it is the condition of possibility of taste. Therefore, although the taste is set by a complex calculation of unknown factors, knowledge of the way has a special place insofar as its absence prevents their enforcement. Moreover, it is more questionable for a prior knowledge of how the constitution of taste, one thing seems correct: Its reach is broad philosophical.
Like a painting, that view of the proximity in which the whole of its length is not involved makes it impossible to fully experience its beauty, the music also requires an equivalent mode of perception, that is, a way of grasping it in his entirety. Viewed up close, only through their particular elements in isolation, the painting loses its meaning. In the absence of relationship that each part of the painting remains with the whole, its form remains hidden and misunderstood work. However, the temporal nature of music establishes a fundamental difference with regard to painting. The understanding of its form requires a subjective activity absent in the painting, since the mere distance ensures appropriate conditions to grasp it in its entirety, but which offers little obvious philosophical interest.
is precisely the way the horizon that guides the whole attitude about the music business. Those who wish to seek commercial success, in particular, the ideal way trade, which is characterized by the greatest possible degree of intelligibility, that is, the music successful must have, first, an intelligible form.
Michael Jackson and his record company took this idea to the latest conseqüênciascaracterísticascontato, the necessity of the effort to listen to it two or three times is not feasible, it is your own sentence to failure. As is obvious, repetition is key to memory, so that the chorus should be systematically repeated. All this, however, may not be evident, it is still necessary to have a kind of different terms: those that lead people to take pride in their own tastes, so we must include also an instrumental passage, if possible reproducing the actual melody of the chorus.
Another important formal character to stand out is the presence of a sharp boundary between melody and accompaniment. The melody carries the entire identity of the music, while the accompaniment is given the task of making it pleasant and attractive. This feature is particularly revealing because it is deeply rooted in how we understand music, so their identification is not possible without first overcoming the concealment of birth. It has been consolidated so strongly think that this second song structure became quite intuitive, and passivity with which we receive this structure is her own brand of your absolute success. The radical opposition between these two poles, melody and accompaniment, became the standard way with the music that we receive. The radical origins of this form of the idea, unfortunately the majority, that voice has priority over the other instruments, whose role is restricted to merely sustain it.
The third and final formal aspect which matters addressed is the tendency, ever more binding in all respects in silence suppression. In its most radical stage, the annihilation of silence itself becomes an aesthetic, aesthetics of the completed, fully serviced by Heavy Metal. With its distortions prolonging the sound unrestricted, and sequences of notes whose interval tends to zero, silence loses his place, so that each piece of music try to generate an intrinsic ability to draw the viewer's attention. The silence is music whose form you want to meet business demands, forgotten and discarded the note.
There is no relevant justification for the election of these musical structures, the more songs are created from it, the more it is played, the more natural it becomes more and your reception will be guaranteed its success. Perhaps the most acceptable explanation is found in human psychology: the tendency to stick with what you already know.
In an attempt to retake the character more philosophical text, I suggest you back to the notion of form. Seeing the way simply means perceiving the music as a whole, ie, understanding the fragmented existence of music as united. The form is configured for unity that pervades and orders the fragments becoming distributed over time.
So I try to uncover the knowledge, one that anticipates the musical appreciation, not outside of the music itself, it is the result of a cognitive process that originates and has its own purpose in the reception of music. Any item that does not belong to the materiality of music could be a decisive knowledge for your enjoyment. What is put forward as required to receive "appropriate" music can not transcend the means by which it takes its existence, the sonic material ready in time. Moreover, this is precisely the criterion that establishes the limit of the available evidence for an aesthetic discourse about music.
knowledge which makes the enjoyment of music is, therefore, the knowledge of the music itself, to the extent that this is mediated by an intellectual activity that structures the existence of fragmentary music in one unit, one way .
learns to like a song knowing its shape, and know if your out listening to it. Activity apparently trivial and obvious, however, extremely rare. Listening requires attention, or rather a deliberate attention, which requires a tremendous effort, whose driving force must originate from the man himself, a sincere desire to know and reveal the broader world of music. Attention is unique, but also essential condition for understanding the form of music.
There is, however, a shortcut, and it is precisely here that the intelligible form is its full potential commercial. It facilitates the intellectual process to learn a song: its short length, the presence of repeats, the clear demarcation of roles of the instruments, are characteristics that increase the intelligibility of a musical form. Moreover, this commercial cards is enhanced by the fact likewise find many previous instantiations. Insofar as the music to learn music has structural similarities with already known, the process to know its shape is shortened by familiarity. Intimacy with a musical form facilitates the assessment of all the songs they create a similar structure.
Despite the negative charge on the development of an intelligible way, do not set any necessary implication with respect to its aesthetic value. At best, probabilistic implications in structures: The more locked into a certain shape, the smaller the area under the indeterminate which the composer creates. However, I believe playing in the creative task of the revolutionary musician: Understanding musical forms, especially those that have been consolidated as natural structures, and overcomes them, so that the act of creation is free to find new ways to investigate, explore, experiment and modify the language itself that is the music.
thank the comments Philip and Lucas that helped me develop my writing.
thank the comments Philip and Lucas that helped me develop my writing.
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