Las relaciones de la música con la cosmología

Abstract

The relationship between music and cosmologyAs from the Ancient Greece, Music related to several areas of knowledge. The present article reports some of these relationships that, in a certain way, kept outlining the musical aesthetics, and its function in society, in the people's culture, and in education. The strong bond of Music with Cosmology guided the present report, since the Pythagorism up to the Illuminist project which promoted the scission that was set up between Music, under a rational perspective, and the cosmogonical tradition. From an Gnostic view, this was a fact that was one of the kinds of semanticity present in the musical discourse, therefore, subjected to the historical and socio-cultural cycles, as well as to the epistemological conditioning. The theoretical discussion was more intensely guided by the works of E. Fubini, L. Rowell, U. Eco, and Mário Ferreira dos Santos, among others. Abstract As relações da música com a cosmologiaA música desde a Antiguidade Grega relacionou-se com diversas áreas de conhecimento. O presente artigo relata algumas dessas relações que, de certa maneira, foram delineando a esté-tica musical, sua função na sociedade, na cultura dos povos e na educação. A forte ligação da música com a cosmologia pautou o presente relato, desde o pitagorismo até o projeto iluminista que promoveu a cisão que se estabeleceu entre a música sob uma perspectiva racional e a tradição cosmogônica, fato que numa visão gnóstica foi uma das espécies de semanticidade presente no discurso musical, portanto, sujeita aos ciclos históricos, sócio culturais e aos condicionamentos epistemológicos. A discussão teórica pautou-se mais intensamente nos escritos de E. Fubini, L. Rowell, U. Eco e Mário Ferreira dos Santos, entre outros. Resumo Palavras Chave:relações musicais, pitagorismo, cosmologia, projeto iluminista, semanticidade. IntroducciónEl presente artículo retrata la relación que la música estableció con la cosmología desde la teoría musical pitagórica, pasando por la teoría especulativa medieval y las propuestas modernas implantadas con el surgimiento de las ideas estéticas surgidas en los siglos XVII y XVIII.Esas relaciones, en cierto modo, fueron delineando la estética musical, la función de la música en la sociedad, en la cultura de los pueblos y en la educación y su sentido semántico, determinados a partir de un proceso musical sujeto a los ciclos históricos, socioculturales y a los condicionamientos epistemológicos.A la par de la visión musicológica, la trayectoria histórica aquí presentada también contempla aspectos que involucran el dominio de las ciencias cognitivas. La teoría musical pitagóricaTal como aparece en numerosos escritos, la estética musical en determinados períodos de la civilización se configura como una historia de las relaciones de la música con las demás artes y áreas del conocimiento. Teniendo como punto de partida la Antigüedad Griega, se observa que la música estaba dotada de una significación y función muy diferente de la actual. Allá, ella estuvo estrechamente...

<i>Tribute to Bach</i> (1956): Approximation to the Oteizian Mural Emptiness as a Silent Music Score

“…For Oteiza, all these musical techniques are closely related to his aesthetic thinking 16 , which will not only be developed in a special way in his mural compositions, but will also be very present in the whole of his work. Thus, many of his works will be based on the spatial development of certain minimal and elemental units, which he will subject to different treatments and modulations in his sculptures, grouping them into experimental series based on repetitions and variations of his elements, until finally finding a sculpture that supposes its conclusion or definitive version.…”

“…The mural presents an anti-score, a music from the void, a metaphysical music represented in silence. Oteiza can collect the plastic-musical duality in the same sculptural work, where the music does not sound, but exists, like the worldly music of the Pythagorean theory [16]. In the musical fabric [17] that this score shows, some musicological keys could be found, as a "composition anatomy" [12], which are represented in textural values such as height, axes, simultaneity, time, sequence, tension, rhythm, proportion, movement, developments, hierarchies, etc.…”