IL PIANOFORTE Painting

Seven liberal arts Baldung Hans. Music Sacred music is symbolic in nature. Having a transient, ever-changing aspect, it is relative, but the context contains the true reality, the absolute. The music of the spheres symbolizes the harmony of the spheres and of life. Image of musical instruments means bliss. Some wind instruments are phallic symbols, and a string represent the female form. The mystical order. The music usually associated with the origin of life itself. Hindu doctrine, for example, asserts that the sound itself is the vibration of cosmic energy. From here and legends about the origin of the world: Krishna played the flute, and these sounds of the cosmos in motion and began peace-building. Primitive music based on the rhythm and imitation of sounds of animals and nature, was essentially an attempt to establish contact with the spirit world. With the advent of more complex tools and harmonious combinations of sounds, music has become a symbol of the cosmic order, as in China and Ancient Greece also had connections with the symbolism of numbers and planets (the latter reflected in the famous expression "music of the spheres"). Plato believed that musical and mathematical laws formed space and that of the planet, moving and interacting with each other, creating divine harmony as well as the height of the sound changes depending on which strings of a musical instrument vibrate. In China, the sounds were distributed (up to semitones) between the principles of "Yin" and "Yang" and thus, the melody itself became a symbol of the unity of opposites, which was considered the basis of all things and the spiritual. In works of art musicians or musical instruments often served as symbols of peace and love. The musical symbolism is extremely complex. Here we can only outline some General ideas. Musical symbolism permeates all the components of created sound: instruments, rhythm, tone or timbre, the notes of an ordinary scale, well-established samples, the playback device, melody, harmony, and form. Symbolic interpretation of music as such may proceed from two main points of view: either from the treatment of it as part of the orderly model of the cosmos, as it was believed in the ancient, megalithic and astrobiological cultures, or making it as a phenomenon of "conformity" associated with expression and communication. Another fundamental side of musical symbols is its relationship with the size and number arising from the Pythagorean theory (27). The cosmic significance of musical instruments - their subjection to one particular element - was the first to analyze Kurt Sah in "the Spirit and development of musical instruments (Berlin, 1929). In this symbolism, the characteristic shape of the tool should match its tone, but there are some typical "contradiction" between the two parties, which, perhaps, could have a value as an expression of the mediating role of musical instrument and music in General (since the tool is a form of communication or communion, are mostly dynamic, as is the case with voice or spoken word). For example, the flute is phallic and masculine in form but feminine and shrill in tone and luminous, silver (and therefore lunar) tone, while the drum is due to southernhay feminine form and still is manly due to its low ton (50). The relationship of musical symbols with self-expression (and even graphic art) is evident in the music of primitive art, which often reached almost literal imitations of rhythm and movements, properties, and even animal forms. Schneider describes how, listening to Senegalese "Song of the stork", he began "to see that he now heard" thanks to the rhythm, exactly to correspond with the movements of the birds. When he asked about the singers, their answer confirmed his observation. Following the laws of analogy, we can also detect the cases of conversion expressed in symbolic: i.e. the melodic movement as a whole expresses a certain emotion agreed, and this movement meets certain agreed symbolic forms. On the other hand, the juxtaposition of low and high tones expresses the "obstacle", the flour and the need of inversion. Schneider concludes that this expresses the idea of dividing the space between the valley and the mountains (respectively between heaven and earth). He notes that in Europe mystical definition of "high music" (i.e. bisokotuwa) and "low music" (discoswede) lasted until the Renaissance. The question of the relation of musical notes to colors, or planets as far from certainty as other symbolic music matching. However, we cannot transmit sound symbolism, without going into serial communication, which exists in the phenomena: for example, in accordance with the pentatonic range, we always find examples of five-membered groups; diatonic and modal gamma because it has seven notes, is related with most of the astrobiological systems, and from all sequences is undoubtedly the most important; the modern trend associated with dvenadcatiletnie sequences, may be compared with the signs of the Zodiac. But still have not discovered sufficient evidence of this special aspect of musical symbols. The same applies to the correspondences set out Fabre, please d 0ливе, the French occultist: me - Sun; FA - mercury; salt - Venus; La Luna; si - Saturn; Jupiter; re - Mars (26). A more meaningful sequence of interactions, at least in the aspect of expression - those which bind Greek key with the planets and with distinct Christian ethos as follows: LNG-tone (Doric) - Mars (or simply pathetic), /s-tonality (Phrygian) -- {Obiter (ecstatic); to-tone (median) -- Saturn (sad and painful); with^-tonality (gipotonicescie) - the Sun (enthusiastic); La-tonality (hypotrigona) - mercury (energetic); g tonality (geopolitika) - Venus (erotic); the FA - tonality (Lydian combined) - the Moon (melancholy) (50). Deep research Schneider music symbols seem to us to be reasonable. He believes that quartucci, consisting of notes do, re, mi, FA, is the connecting link between heaven and earth; four notes, the lion (courage and strength), the ox (sacrifice and duty), man (faith and incarnation) and the eagle (elevation and prayer), And Vice versa, quartucci, constructed of Sol, La, si, to, would represent a kind of divine doubling the previous ^quartuccio. FA, C, g, d are considered masculine elements corresponding to the elements of fire and air and tools of stone and metal, whereas La, mi, si - women's and are related to the elements of water and earth. The interval FA-s, known to musicologists as Triton (quart or larger), expressed through dissonance, the painful conflict between the elements of fire and water - a conflict that represents death itself (50). We were able to offer here only some kinds of musical symbols, developed by Schneider in the "Musical origin animalistic characters" whose boundaries are so wide that, according to the researcher, he believes that all symbolic values in the basis are musical, or at least dealing with sounds. This becomes quite clear when we remember that singing as a harmony of successive elements of the melody is a natural connection between all phenomena and at the same time, the communication, expansion and upgrading of their internal relationships, of all phenomena. Hence the remark of Plato that the nature of national music cannot be changed without changing the customs and institutions of the state (26). Music represents an intermediate space between the changing material world and a continuing area of "pure will" of Schopenhauer. Hence its use in rites and liturgies (together with fire and fumigation).