By Gunnar Bucht
As a rule conversing, the philosophy of song hitherto may be acknowledged to procedure song, because it have been, from above or from outdoors. tune, hence envisaged, may 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 replicate society’s inward contradictions. track is visible as an task, occasionally as interactivity, now not least via an anthropological strategy within 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 start line to paintings the best way as much as an knowing of the phenomenon of track, to make a philosophy of tone the root of a philosophy of tune. Such suggestions have been already found in the author’s prior works, yet, being on hand basically in Swedish, could be enlarged the following.
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Additional resources for Aeolian Harp: An Essay Concerning the Nature of Tone
He places the universals of music at the centre of attention and here Boethius’s three basic concepts, reinterpreted by me, come into play. To Handschin the character of tone is encompassed by a universal of music, something bridging the gap between inward an outward. Here we see the philosophical-metaphysical side of Handschin’s intellectual world: nothing in music stands for itself in isolation. Instead the precondition for the existence of the individual part is its inclusion in a wider context.
Underlying the view thus hinted at is the question of whether motion requires repose. Aristotle’s, and thus the ancient world’s, answer is largely in the affirmative, underlying Zeno’s famous paradoxes of the impossibility of motion. Space is perceived as static, and there is no such thing as empty space. 48 Despite Aristotle’s authority, there is all the time an intra-ancient opposition which also gains adherents among later Arab philosophers, asserting the possibility of a relation between space and motion, perhaps indeed one of interdependence.
The wind acting on the strings produces a variety of overtones, depending on the strength of the airstream and the thickness and tension of the strings. The tonal range can be anything up to six octaves. Needless to say, timbre and tone combinations are unaffected by human intervention, leaving aside technical aspects, but depend entirely on the movements of the air. The unexpected, the unforeseeable, is the norm, and not only the timbre but the actual process is unplanned, which stimulates the imagination.