We can attempt to define music by speculation about its origin. The first sounds they have been issued for convenience of communication or self-enchanted? To imitate the song of birds or beasts growl? To soothe a feverish child sleep or pain? Orpheus , the mythical inventor of the lyre, charmed animals, plants and even stones. The first dance she is born of the pulse produced by the first pace ? Or the cadences of the dancer they have triggered the desire to accompany them by clapping of hands or whistle voice? Whatever the position taken, it can only be a conjecture among others. Here is one of Alain: "When hunting, it is necessary that hunters warned one another from afar, they probably started screaming by rounding their hands around their mouths and then they made a megaphone and bark metal, and they roared in there by keeping the voice of ordinary treble and bass, joined a rhythm. Then the physical set as filtered and then cries, for a pipe does not also strengthens all sounds, but only those who are called harmonics , and as those get along better than others was called good criers and masters in the art of screaming people who pushed these sounds then it is thus that the voice became gradually trumpet, horn, trumpet, along with the art became the art of screaming sing all our music is based on notes given by a bugle or hunting horn. It's in our surroundings, in nature it must seek the origin of institutions, not in old papers ".
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"Life without music is a mistake, a grueling task, an exile. "
, letter to Peter Gast, 15 January 1888.
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"The time" is "music, and it gives us when we run or we hear, is the only free time that we be given before death. "
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Music or the omnipresence omnipresence of music?
Victor Hugo said: "Music is noise that thinks." He joined the inexhaustible and definition of Leibniz
: "Music is a mathematics of the soul that account without knowing she has. This definition of Leibniz
is it worth our time? Let us begin with a phenomenon so encysted in our time that we do not perceive it as something recent: it is the invasion, the infiltration of all our social and personal life through music, in the influence of technological discoveries allowing the recording and dissemination of sound permanent. An American philosopher, Allan Bloom
, describes this phenomenon convincingly: "We are, he writes, in an era of music and moods that accompany it. To find the equivalent of this explosion of musical enthusiasm, we must go back at least a century back and discuss Germany and the atmosphere surrounding the operas of Wagner
. The Wagnerian Wagner
lived. Today also, we can say that a huge part of our young people between ten and twenty live for music, it is their passion, nothing else like it and the enthusiasm they can take anything seriously that is alien to the music. "
We are in an era of music. We do indeed live in an era where it invades and permeates everything. Anthropologists will argue that it also permeated the entire life of our ancestors. Indeed, in Civilization Egyptian, Hebrew, Greek and Roman times - has been the cradle of western music
- various musical forms presided at great rites of daily life. In a way that anthropologists have grouped these musical events around religion, war and great moments of life in society. Among the Egyptians and Romans in particular, there was music in the temples, during banquets and celebrations and military parades. What the current phenomenon is new? With that in an ever more important in our lives, we pick our most sounds, they are imposed on us, whereas before the advent of industrialization in the sound, the use made music was limited and ritualized.
First, it required a long apprenticeship was necessary because, for lack of proper musical notation, to memorize to pass it, and secondly, he had to hear it or understanding it - which n does not preclude, on the contrary, the ability to improvise - or they could buy music, or move to places ad-hoc. Allan Bloom
has shown that music has the ability to give "a rationale and an undeniable pleasure in rewarding activities that accompanies it: the soldier who hears a military band chanting and marching, is captivated reassured the prayer of the believer is exalted by the sound of the organ in the church, and the lover is transported and feels soothed his conscience by the romantic guitar "(2).
But how to justify the chant
ininterrompable uninterrupted broadcast in all public places, where all styles of music succeed in anarchy? Their repetition inevitably leads to the differentiation
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Music. Conference Dandrel Louis (University of All Knowledge, December 22, 2000), "Making a state of music today requires an inventory abundant and diverse. We can try to see or hear more clear by observing the changes of listening situations, techniques for processing and dissemination of sound, or the evolution of architecture. The extreme diversity of the music seems to coincide with the splitting and mixing areas where it taking shape and spreading. Some anthropologists and historians have highlighted the relationship between developments of traditional music and learned their acoustic environment. The production and consumption of music seems to date doubly linked to their environment they help shape but they are closely dependent. " You can listen to this lecture in Real Audio (Telerama.fr).
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Muzak, the foreman Music
The distribution of sound in public places falls within the most important companies named Muzak, based in New York in 1934. The company in its advertising is as a technique for contemporary administrative "and therefore not as a form of art or entertainment." This music is essentially intended to increase the production of workers in offices, public places, and as such, uses the known methods of packaging. "The product is intended for offices and factories of this sequence of songs in fifteen minutes ... each sequence moving from a slow to a fast pace. The intensity and tempo of the sequences themselves as up and down depending upon the course of a day of work, corresponding to the ups and downs of the mood of employees, or other psychological or environmental factors predetermined by the department human genius in the offices of Muzak New York (1). The results are they at the height of human genius? Surveys have shown that the use of Muzak increases productivity "especially among those whose educational level is low."
Muzak is not content to play this role in the psychosocial world of work, it is also found in the medical world where he is "used as an aid to anesthesia in the operating rooms in some hospitals. The sounds of what made the music they wake up?
This music is distinguished by its sanitized orchestration fixed and flat. It serves, among others, 22 of the 25 largest U.S. industries, and the music she makes is carefully developed and distributed in 18 countries in over 500 cities worldwide.
"The Canadian composer and writer R.Murray Schafer questioned the validity of the claim of Muzak to "mask" sounds less attractive as those of machinery factories or the hum of supermarkets. He considers the growing ubiquity of the music he ironically calls "Moo-zak" as an invasion of privacy and denial of freedom of choice. He also sees the germ of Muzak in a general atrophy of aesthetic sensibility by the inevitable exposure to some semblance of music that could make the unsuspecting subjects less receptive to listening experiences conscious not only of the true and the music that entertains, but also the natural environment.
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Nietzsche's critique of modernity in music
"In music, we lack an aesthetic that would refer to impose rules on them and musicians create a consciousness we lack, and this is a consequence of a genuine struggle for the" principle "- because , as musicians, we mock the whims qu'Herbart has arisen on this area, as well as those of Schopenhauer
. In fact, it follows that a major difficulty: we are no longer able to motivate
the notions of "model", "MA", "perfection" - we grope blindly, with the instinct of an old love and a old admiration in the field of values, we are almost inclined to believe that "what we like is" ... This arouses my suspicion everywhere designate to hear Beethoven
, innocently, as a " classic "I argue with rigor as in other arts, is meant by classical
type opposite to that which is Beethoven
. But when I see this decomposition
in Wagner style
that stands out, what is called his dramatic style, displayed and revered as a "model", a "master" "progress", my impatience at its peak. The dramatic style in music, as understood by Wagner
, is the renunciation of any kind of style, on the pretext that there is something that is a hundred times more important than music, that is say the drama. Wagner
knows how to paint, he uses music, not for making music, it reinforces attitudes, he is a poet, and finally he called the "beautiful feelings", the "lofty ideas", like all artists theater. - With all this he has won the women in his favor, and those who want to cultivate their minds, but these people, what have they to do with music? All this has no consciousness for art, all of which do not suffer when all the virtues of essential commodities and art are trampled and narguées for secondary intentions (as ancilla drarnaturgica).
Never mind all the enlargements of the means of expression, though, that should express the art itself has lost the rule to guide him. The pictorial splendor and power of sound, the symbolism of the resonance, rhythm
, color in the harmony
and dissonance, meaning evocative music, the sensuality
in the music that Wagner
has brought victory - all Wagner
recognized in the music, he sought there, the shot has to expand. Victor Hugo has done something similar to the language already but now we wonder in France, though in the case of Victor Hugo, that was not at the expense of language ... where, through the strengthening of sensuality in language, reason, intellect, deep compliance with the laws of language have not been lowered? In France, the poets have become fine artists, musicians in Germany comedians and scribblers are not this evidence of decadence? "
THE MUSIC IN THE ANCIENT.
If far back in civilization, it is impossible to pinpoint a time when the music began. Undoubtedly, it has always been about music around the world.
Philosophers and writers to music
Historically, there have been philosophers and writers interested in music. Plato, Aristotle, Pythagoras, Quintilian, With My T'sien in the past, and closer to us Schopenhauer
, Nietzsche, Jean-Jacques Rousseau, many others, regarded the music as one of the most profound speculations of the human mind. The poets have always sung Euterpe, and Paul Valery, nowadays, is not averse to flirting with the lady. But poets exalt and magnify all things, while philosophers and writers have sometimes hard hand. We know how fruitful were the ideas of Schopenhauer
on music and everything that Wagner
is the philosopher of the will. We also know that Nietzsche did not broach the music without passion, as revealed books as Human, All Too Human and The Gay Science, and others like Nietzsche against Wagner
and The Wagner
Case, destroying a god worshiped terribly. With Nietzsche and Schopenhauer
, it is the presence of very sophisticated philosophers things music. The author of Zarathustra is Nietzsche wrote many works for piano and melodies that are being published. Despite the success of his comic opera Le Devin du village, we do not consider Jean-Jacques Rousseau as a musician by profession. However, items that Jean-Jacques has written for the Encyclopedia of Diderot are among the most important work of musicology