By Gunnar Bucht

More often than not talking, the philosophy of song hitherto should be acknowledged to method song, because it have been, from above or from open air. song, therefore envisaged, might be «absolute» or «sounding varieties 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 reflect society’s inward contradictions. track is noticeable as an task, occasionally as interactivity, no longer least via an anthropological strategy during which prominence is given to its origins. This paintings is an try and opposite the argument, by means of taking the phenomenon of tone because the place to begin to paintings the way in which as much as an realizing of the phenomenon of tune, to make a philosophy of tone the basis of a philosophy of tune. Such techniques have been already found in the author’s prior works, yet, being to be had merely in Swedish, could be enlarged the following.

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Extra info for Aeolian Harp: An Essay Concerning the Nature of Tone

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This does not mean that we must necessarily believe in the harmony of the spheres, it is just another way of saying that music is Janus-faced, is both nature and nurture. We have now finally reached the point where tone, and with it music, can be placed at the centre of things. Background and preconditions have been created, the framework is in position. The question now is how man experiences and fashions tone and music on the basis of his perception of space and his notions of it. *** Let us now, with the aid of imagination, put ourselves in a situation where we are confronted by tones.

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.

All one’s attention is concentrated on the narrow strip of road, with its perils and possibilities, at least if one is sitting behind the wheel. Things beside one are reduced to stage flats in the corner of one’s eye, are not a space in the true sense, are as unattainable in the speed situation as the moon once used to be. The driver is no longer moving in the landscape but instead is passing by it. The purpose of this motion tends to slither into a spatial experience in itself, with the thrill of speed as a prominent element and with the relation between near and far also playing a role.

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