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

By Gunnar Bucht

Normally conversing, the philosophy of song hitherto could be stated to technique track, because it have been, from above or from outdoor. song, hence envisaged, may be «absolute» or «sounding kinds in motion». it may be expression, have a linguistic that means, inform a narrative, be a manifestation of «the international as will and conceptualization», and replicate society’s inward contradictions. song is visible as an job, occasionally as interactivity, now not least via an anthropological procedure during which prominence is given to its origins. This paintings is an try and opposite the argument, by way of taking the phenomenon of tone because the start line to paintings the way in which as much as an figuring out of the phenomenon of song, to make a philosophy of tone the basis of a philosophy of track. Such concepts have been already found in the author’s prior works, yet, being to be had simply in Swedish, may be enlarged the following.

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Additional resources for Aeolian Harp: An Essay Concerning the Nature of Tone

Sample text

These directions differ in meaning and significance. Up-down is, so to speak, in the nature of things, indicative as it is of man’s position twixt heaven and earth. It is man’s inevitable predicament, meaning that experience of height and depth is elementary, existential, the very precondition of human life. The forwards-backwards direction, on the other hand, adds a dynamic element to man’s spatial experience: he is heading somewhere, he travels, migrates. He can turn through 180 degrees and in doing so reverse these two opposites.

Twelve unison strings are stretched over a box with a sounding board and sound holes and is intended for outdoor use. 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.

This kind of music is dependent on being played in a limited space with qualities which both guide the performance and at the same time highlight the qualities of the music. The relation between space and music is symbiotic: the music comes from nowhere, is suddenly just there, insinuating itself and almost caressing the space, reaching into its furthest corners. The room for its part envelops the music, reinforcing it and at the same time softening any sharp edges it may have. Direction and development are wholly absent, all we have is a mobile state circling round itself.

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