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

By Gunnar Bucht

As a rule talking, the philosophy of track hitherto will be stated to strategy track, because it have been, from above or from outdoors. song, hence envisaged, will 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 reflect society’s inward contradictions. song is obvious as an task, occasionally as interactivity, now not least via an anthropological method during which prominence is given to its origins. This paintings is an try to opposite the argument, through taking the phenomenon of tone because the start line to paintings the best way as much as an knowing of the phenomenon of tune, to make a philosophy of tone the root of a philosophy of tune. Such options have been already found in the author’s prior works, yet, being to be had in simple terms in Swedish, may be enlarged right here.

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

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Notice the word gezogen.  e. a tone made to sound by the drawing of a bow over a string. Could Schlegel and Schumann have had in mind Pythagoras’ single-stringed monochord, kanon in Greek, meaning “yardstick”? If sound is the world, is tone the world’s explanation? 30 Tone and Myth “…Then, some friend, silent witness of our happy days of love, would with his own hands, dig us a grave at the feet of an aged oak, … and hang upon its stretching boughs the orphaned harp, whose strings, caressed by the wind stirring the trembling leaves, would breathe its last faint harmonies unto the sighing air.

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.

On the other hand, dusk can also be warm and intimate, and that is a world where sleep is close at hand. From day via dusk we come to the night. Progress through nocturnal space is guided by other senses than just vision, and above all by hearing and touch. One can imagine walking along a road at night in special lighting conditions, hearing distant sounds etc. Or groping one’s way through a space, especially if it is an unfamiliar one. Nocturnal space contains more than light, it does not stretch/ extend itself like the illuminated space but touches us more immediately, enclosing and penetrating us.

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