New music resembles a vocabulary. Expressions such as music idiom, music intonation, are not simply metaphors. But songs is not similar with expressions. The resemblance points to one thing crucial, but vague. Any individual who will take it actually will be seriously misled. Songs resembles vocabulary in the sense that it is a temporal sequence of articulated appears to be which are much more than just seems. They say one thing, usually a thing human. The better the music, the far more forcefully they say it. The succession of sounds is like logic: it can be right or mistaken. But what has been stated cannot be detached from the music. Songs generates no semiotic program.
Music aspires to be a language devoid of intention. But the demarcation line between itself and the vocabulary of intentions is not absolute; we are not confronted by two wholly separate realms. There is a dialectic at work. Songs is permeated by way of and by way of with intentionality. This does not just date from the ‘stile representative’, which deployed the rationalization of audio in an work to exploit its similarity to vocabulary. Music bereft of all intentionality, the simply phenomenal linking of sounds, would be an acoustic parallel to the kaleidoscope. On the other hand, as absolute intentionality it would cease to be new music and would effect a false transformation into vocabulary. Motives are central to new music, but only intermittently. Music points to correct language in the perception that content material are obvious in it, but it does so at the price of unambiguous which means, which has migrated to the languages of intentionality. And as though Music, that most eloquent of all languages, necessary consoling for the curse of ambiguity – its mythic aspect, intentions are poured into it. ‘Look how it consistently indicates what it implies and determines it.’ But its motives also remain hidden.
It is not for practically nothing that Kafka, like no author prior to him, need to have assigned a spot of honour to music in a number of memorable texts. He handled the meanings of spoken, intentional expressions as if they had been those of songs, parables broken off in mid-phrase. This contrasts sharply with the ‘musical’ expressions of Swinburne or Rilke, with their imitation of music results and their remoteness from true musicality. To be musical implies to energize incipient motives: to harness, not indulge them. This is how music turns into structure.
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