Music of the spheres and the metaphysics of music: An analysis. (original) (raw)

Music of the spheres and metaphysics in music- An annotated bibliography

Reilly not just gives examples of change in context that happened over several periods in history. But he also talks about how that change in the understanding of metaphysics of music lead to the change in the techniques of producing music and how the different perceptions in understanding of metaphysics redefined the question of “what constitutes as music?”, which further influenced and challenged the accepted set musical producing techniques at each stage of the change.

The Metaphysics and Theology of Music

2021

This article aims to analyze music from a philosophical and theological perspective, using the principles of multi- and transdisciplinary methodology. After a brief introduction, which presents the main moments in the history of the musical phenomenon, a first chapter addresses the metaphysical dimension of music in classical composers. The second chapter shows the position of philosophers towards music, starting with Pythagoras and ending with Schopenhauer. The third chapter focuses on music theology in general, but also on the theology and metaphysics of music to the French philosopher of Romanian origin, Emil Cioran, who, after Augustin and Schopenhauer, wrote probably the deepest pages on the ontology of music. The last chapter refers to to the archetypal character of music.

AN EPISTEMOLOGICAL PERSPECTIVE ON THE RELATIONSHIP BETWEEN MUSIC AND METAPHYSICS

2024

Thinking together about all the elements of music based on concrete indicators and the qualities of this field that point beyond what is known, brings to the agenda an accumulation of knowledge on the axis of art, philosophy, and music. The idea of art, which is the subject of music, or the key issues that transform music into art, point to the deep meanings of music in connection with metaphysics. The approaches adopted in the history of thought, scientific advances and social turning points have shaped the quality of music and the meanings attributed to it. In this descriptive study, which aims to make an epistemological examination of the relationship between music and metaphysics through this accumulation, metaphysical issues that enable us to characterize music as art are revealed. Thus, regardless of the context, it is possible to see a metaphysical perspective that progresses intertwined with music in many circumstances, with various semantic contents, forming itself from not only as a natural outcome of music but also an axis that inspires music.

Music and Physics – Connectors and Parallels

2008

Music may be defined as a mathematics of affections. Originally a branch of mathematics and philosophy, music unites mathematical structuring elements and the most abstract and affective expression of man. But it is not only to mathematics that it is related in such an apparent manner. More and more music shows a brotherhood of blood to physics, choosing issues common to both these spheres of knowledge as the focus of its attention. Mathematics of affections Addressing music in present times, when the cultural industry rules in such a wicked manner, implies the risk of talking about things so different that it would be very difficult that an extraterrestrial being possessing a minimum intelligence level and even in a routine visit would classify things he heard here as part of the same branch of human knowledge. In his enterprise, he would certainly lose plenty of time facing a huge amount of mediocre and unpretentious doings two adjectives which are rather problematic to good art: ...

Musica Universalis or the Music of the Spheres

Matériaux & Techniques

The Music of the Spheres was a model of the universe proposed by Pythagoras and Aristotle, which explained cosmology in terms of spheres to which the sun, the moon and the planets were pinned, while their motion was driven by something akin to music. Modern thinking, related to ecology and industrial ecology, has metaphorically breathed life back into this old model by speaking about spheres again: biosphere, geosphere, anthroposphere, technosphere, hydrosphere, cryosphere, atmosphere, etc. Sustainable development also speaks about its three pillars (economy, environment, society) represented in a Venn diagram as intersecting circles (or spheres). All these models differ from the models of physicists, as they are more conceptual diagrams than a representation of the world as it is. Thus, they remind us of the old Music of the Spheres model. They also stress connections, exchanges, equilibria between the spheresor the lack of them-, like Pythagoras' music. The presentation will discuss these various approaches, see how they match to some extent, but also how they do not show a perfect fit. Analyzing what happens at the boundaries of the spheres, where they overlap or penetrate into each other, is a powerful way to analyze the connection between technology, society, life and ecosystems. It can also help discuss pollution, ecotoxicology and explore global solutions. Keywords: music of the Spheres / Musica Universalis / three pillars of sustainability / spheres of ecology / interaction between spheres Résumé. La musique ou l'harmonie des sphères. La musique des sphères est un modèle du monde proposé par Pythagore et Aristote, qui expliquait la cosmologie en termes de sphères dans le ciel, sur lesquelles étaient fixées le soleil, la lune, les planètes et les étoiles fixes et dont le mouvement était réglé par un mécanisme semblable à la musique. La pensée moderne sur l'écologie et l'écologie industrielle a redonné vie métaphoriquement à ce modèle en parlant à nouveau de sphères : la biosphère, la géosphère, l'anthroposphère, la technosphère, l'hydrosphère, la cryosphère, l'atmosphère, etc. Le développement durable parle aussi de ses trois piliers (l'économie, l'environnement et la société) qui sont représentés dans un diagramme de Venn comme trois cercles (sphères) qui se coupent. Ces modèles diffèrent tous de ceux que propose la Physique, car ils représentent plus une vision conceptuelle du monde qu'une description factuelle de la façon dont il fonctionne. Par conséquent, ils font écho au vieux modèle de la musique des sphères. Eux aussi insistent sur les relations, les échanges et les équilibres qui règnent entre ces sphères ou qui en sont absentsun peu comme la musique de Pythagore. L'article décrit ces approches très différentes et s'interroge sur leurs similarités ou au contraire sur leurs décalages. Une façon puissante d'analyser les rapports entre la technologie, la société, la vie et les écosystèmes est d'analyser ce qui se passe aux frontières de ces différentes sphères, comment elles se frôlent, se superposent en partie ou s'interpénètrent. Cela permet aussi de discuter des questions de pollution, d'écotoxocologie et de recherche des solutions globales à ces questions. Mots clés: musique des sphères / harmonie des sphères / les piliers du développement durable / les sphères de l'écologie / l'interaction entre les sphères 1 Introduction: Musica Universalis Understanding how the world functions has been a universal endeavor of mankind for as long as historians and paleoanthropologists have been able to peek into the past. The world includes "nature", people and their activities conducted with the artifacts that they have builtwhat has been traditionally called "civilization". Questions like what are the sun, the stars, the wind, rain, a rainbow, life, etc., which started up as religious questions and moved on to philosophy and metaphysics and then to science, physics or biology, call for answers, which, today, are provided by scientists of all kinds, but also by writers, ★ This article was given as a keynote lecture at the

What do we hear when we hear music? A radical phenomenology of music

"What do we hear when we hear music? A radical phenomenology of music". The 9th issue of Studia Phaenomenologica (central dossier: "Michel Henry's Radical Phenomenology" coordinated by Jad Hatem and Rolf Kühn), Studia Phaenomenologica vol. IX/2009, p. 269-286, Publisher: Romanian Society for Phenomenology & Humanitas, Bucharest, Journal Editor(s): Cristian Ciocan, Guest Editor(s): Rolf Kühn & Jad Hatem,400 pages, ISSN: 1582-5647