MusicMusic
� �The music is a phenomenon extremely transrational, i. e., that touches our psycho-affectives spheres. That doesn't means its fruition have not a rational side. On the contrary, and that is no secret for the music composers, it is based on a kind of language which has a highly logical and developed syntax. Specially in the 17th to 19th centuries, rises a kind of compositional formalism that enphasises the intelective side of the audition (to perceive the theme, its variantions, contrasts, developments, conclusion etc.). From then on, and with a standardization and simplification, the musical phenomenon in the Occident became more and more a reproductible and alienating comodity, from wich the avant-guarde runs frightened. And we agree about the importance of ideological analysis for every kind of music we produce. That is a concern with the political aspects of music.
� �The communication phylosophy presents, in my point of view, a privileged area for making these connections, allowing to enlarge the possibilities of aprehension of these very complex problems, because of its focus on the discourse dimension. The complexity of all the areas envolved (Aesthetics, Physics, Music and Communication) find in this last area an easier environment for makink a critique about the distance between the academic knowledge production and the "real" world, the sceneny from which we detached the musical phenomenon.
How
did we reach this object of investigation
New
Paradigm: a parallel between Classical Physics, Quantum Theory and Music
Aesthetics
Structure
of the work
Pointing
to Fractal Music
Glossary
