A Composer's World: Horizons and Limitations (Schott) by Paul Hindemith

By Paul Hindemith

The e-book goals to be a advisor during the little universe that's the operating position of the fellow who writes track. As such it talks predominantly to the layman,although the specialist composer can also locate a few stimulation in it... From the middle of easy concept the dialogue will opened up into the entire nation-states of event which border the technical points of composing, equivalent to aesthetics, sociology, philosophy, and so forth.

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40 ctâÄ [|ÇwxÅ|à{ T VÉÅÑÉáxÜËá jÉÜÄw 4 MUSICAL INSPIRATION I If music influences the intellectual and emotional realms of our mental activities, there must exist for each effect achieved in these realms a corresponding cause. The material of musical construction — successions of differently shaped sounds in their infinite number of combinations — provides these causes. It is the composer who is supposed to know about the intimate relation of musical causes and intellectualemotional effects, and to steer the successions of sound consciously and skillfully to the point where they exert their expected influence.

2) The performer expresses the composer’s or his own feelings (equally wrong, as we have seen). (3) The composer’s and performer’s feelings, expressed in their musical production, prompt me to have the same feelings. Since the listeners’ conclusions are based on the composers’ and the performers’ false suppositions, they cannot contain any truth, and we can also State that the listeners’ individual or collective feelings are not expressed in music. VII 34 ctâÄ [|ÇwxÅ|à{ T VÉÅÑÉáxÜËá jÉÜÄw If music does not express feelings, how then does it affect the listener’s emotions?

But even as a mere stimulus in an advanced musical technique the value of onomatopoeia is greatly overrated. Had its advocates asked the musicians about their methods instead of dealing with the listeners and their impressions, they probably would have abandoned their theory; for every observant musician knows that the effect upon a listener, caused by onomatopoetic imitation, even if extremely stylized, is always a secondary effect that accompanies the specifically and exclusively musical coherence of the melodic, harmonic, and rhythmic material.

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