Get A Composer's World: Horizons and Limitations (Schott) PDF

By Paul Hindemith

ISBN-10: 3795700248

ISBN-13: 9783795700249

The publication goals to be a consultant throughout the little universe that's the operating position of the guy who writes track. As such it talks predominantly to the layman,although the specialist composer can also locate a few stimulation in it... From the heart of simple thought the dialogue will opened up into all of the geographical regions of adventure which border the technical features of composing, comparable to aesthetics, sociology, philosophy, etc.

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Additional resources for A Composer's World: Horizons and Limitations (Schott)

Example text

Could we not restrict ourselves to an image of a two-dimensional space by omitting the reference of harmonics to fundamental tones, to tonics, to the effect similar to perspective in painting? Do not many works of the pictorial arts renounce this effect? There was in musical history a time when these effects of perspective — or of tonality, as the technical term goes — were unknown to musicians. This was at a time before harmonics were used consciously and when music consisted only of melodic lines.

It is again the art of music that cannot be caught in a net of temporal and spatial relations as easily as the other arts. We cannot deny that musical progressions evoke in our mind sensations of both a temporal and a spatial nature, but the following investigation will show that the sensations of musical time and musical space are not identical with time and space as felt in our everyday life or in the aesthetic effects of nonmusical works of art. Musical time in its effect on our feelings is easily comprehensible as long as it uses temporal arrangements that are not essentially different from «normal» time.

In music, as in all other human pursuits, rational knowledge is not a burden but a necessity, and it ought to be recognized as such by all. 39 ctâÄ [|ÇwxÅ|à{ T VÉÅÑÉáxÜËá jÉÜÄw To be sure, we must not confuse a certain light-handed technical and spiritual facility with a lack of knowledge, any more than we are to take diffuse pompousness for profundity. Those creative geniuses of the past who in our imagination are the dearest examples of a most gracious human mind, of serene lightness in both imagination and construction — Machaut, Dufay, Josquin, and Mozart, for example — are they representatives of a light-hearted manner of composing, undisturbed by intellectual overweight?

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A Composer's World: Horizons and Limitations (Schott) by Paul Hindemith

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