|Posted on March 23, 2010 at 12:47 AM|
Geometry in Music.
The sound of music, regardless of whether it is produced by an instrument such as a guitar, or a human voice, is always going to be limited foras long as we haven’t achieved a better understanding of our feeling sand emotions.
What is the geometry of these senses we call “feelings”, and where do they come from? No one knows exactly. What have we discovered so far? The Seven Deadly Sins, perhaps? What is “pride”, for instance? Can one really think that in the geometry of music there can be “pride” between sounds, or musical notes?
Can one say that these sounds or notes “hate”one another?
The civilization that has been created by humankind, together with the thousands of musical instruments that have come into being during its advance, could scarcely be said to be ancient when compared to the age of the earth, or the universe for that matter.
So here we are, still puzzling in search of the “perfect sound” and the cryptic element that should produce that.
Nowadays we are pushing ourselves more and more towards the technology that might help us create this quintessential sound.
Computer software attempts to provide us with the mechanics necessary to create sounds that gratify our insatiable appetite, as reflected in the proverbia l“lust” and “gluttony” that relentlessly drive us to wish to profit from the power of technology in all are as of human activity.
Thus it is that this “civilization of mechanics” has not even spared the musical realm. In all the musical sounds that humankind has ever put together heretofore we have the echoes of the Seven Deadly Sins, clearly audible and ever-reverberating.
Now the question remains: Without the power of sounds, can we live at all?