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

By Gunnar Bucht

More often than not talking, the philosophy of tune hitherto should be stated to method song, because it have been, from above or from outdoor. track, therefore envisaged, should be «absolute» or «sounding types in motion». it may be expression, have a linguistic which means, inform a narrative, be a manifestation of «the international as will and conceptualization», and replicate society’s inward contradictions. song is noticeable as an job, occasionally as interactivity, now not least via an anthropological process during which prominence is given to its origins. This paintings is an try to opposite the argument, by way of taking the phenomenon of tone because the place to begin 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 track. Such innovations have been already found in the author’s prior works, yet, being to be had purely in Swedish, can be enlarged right here.

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These terms can also be used metaphorically, as in “spiritual horizon”, “new perspective” and so on. So far we have dwelt on illuminated space, whether basking in daylight or in artificial lighting, but there are of course a number of different lighting conditions by which clarity is obscured: dusk, dawn, mist, falling snow etc. In a combination of mist and dusk, for example, space can sometimes assume menacing forms, an experience portrayed in Goethe’s and Schubert’s Erlkönig. In the twilight world, man feels exposed and the object of a thousand unknown 54 observers.

Newton maintained that space was a species of container for matter, which is to say that space and matter are separate entities. This gives us Newton’s “absolute space”, the alternative to which is Leibniz’s interpretation of space as relations between objects. In modern times, Einstein propounds the theory of relativity, abolishing the notion of an absolute space. Last of all, does space exist as an independent phenomenon? Is it not in fact a way of perceiving reality, in Kantian terminology a form of intuition?

We stand there face to face with the unknown. There is no distance there, no real extent, but even so a peculiar depth which differs from the depth dimension of daytime, with its height and breadth. Depth is night’s only dimension. In addition one can associate with pre-logical forms of thought, activate the nocturnal mystique of Romanticism as it appears in Novalis and in Wagner’s Tristan and Isolde. Personal identity tends to be suspended, as does the difference between subject and object, something which affects animist trains of thought such as belief in superstition and ghosts.

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