reply to post by Erongaricuaro
I feel there is a "magic" in music in that it can capture and relate barely expressable emotions.
Agreed. Every lover of music has experienced this magic.
Those who have long dabbled in music but have no real knowledge of the theory have found some tricks that may be easiest classified as
"magic" because the concepts are difficult to express verbally but can be felt at times.
I'm not sure what you mean by this. There is no single body of musical theory in the same way as there is a single body of, say, medical lore that
one needs to absorb in order to qualify as a doctor. If one makes music for long enough, one evolves a theory of one's own, a language in which to
describe what one is doing or trying to do. Most commonly, one picks up the terms and the theory from other musicians one plays with.
There is, of course, a standard terminology of music (mostly relating to harmony) and a standard musical notation which formally trained Western
musicians are familiar with, but as Antonia says, every musician has a working knowledge of the same musical objects even if he uses different terms
and notation to articulate them. Every style of music has its own language; the word 'turnaround', which I used earlier, has meaning for people who
play the blues or blues-derived music like rock or jazz, but none in formal musical terms; the term 'subdominant' captures some of its meaning but
not all of it. Another common blues and rock word, 'riff', does have a formal equivalent, but a somewhat rare and high-flown one: 'ostinato'. This
is because riffs are commonplace in blues and rock, but ostinati are not very common in serious Western music. Such music is melodically and
harmonically complex but rhythmically very primitive; and more rhythmically sophisticated styles of music have a language of rhythm, sometimes formal
as in Indian classical music, more often casual. And don't forget that the names of certain dances, especially Latin ones, are actually the names of
the particular rhythms associated with those dances.
I suppose what I am trying to say is that magic is never a mystery to magicians.
Perlman's violin have brought me the brink of fleeting otherworld insights. Galacticgirl's healing experience while attending a Perlman
performance I acknowledge and find highly believeable as I utilize similar visualizations to ease internal distresses and music helps make one that
much more susceptible to those benefits.
I do not entirely disagree, but I find it beyond my capabilities to believe that a violin solo can cure somebody of hepatitis.
I suppose music "speaks" to us in that when masterfully done it brings up unresolved emotional responses and "completes the statement" to
bring it to our satisfaction or perhaps leaves us with an internal mystery that we can resolve on our own.
Music does not have to be masterfully executed to achieve its effects. All that is required is that the performer should have sufficient skill to play
the selected piece without mistakes or lapses of taste that would break the spell. I am no virtuoso, but I have had the pleasure of moving people with
the music I make on more occasions than I can possibly count.
Any theory worth its salt should be expressable in common terms but I suppose in dealing with true harmonics there is a "quantum factor" in
that there is a bit of spare change left over that is difficult to account for.
I don't believe that nature is fundamentally simple, or that it can always be understood in commonplace terms, so I beg to differ. However, I do not
think the complexities of the OP are intrinsic to the material.
In the end, this thread is just another excursion into numerology, salted with the usual Pythagorean hyperbole. The power of music is mysterious
indeed, but it is not at all mystical, and its mysteries are not nearly so shallow that they will be revealed through hopeful exercises in
Some intelligent, nonmystical discussion of tritones can be found here
. It is very
easy to read and may cast some light on the OP for non-musical readers.