Music beyond true entertainment

posted by Guido Landini, In Fano Jazz Network

In questo articolo si parla di:

Music beyond mere entertainment

If it’s true that music remains a noble break by daily issues, could it be more than that beyond? Two interpretations about the same theme

We listen to music for relax, for refresh focus, catching positive emotions. We listen to music as a background. Not only pop music, also jazz records becomes perfect: Parker’s sax, Baker’s solo, a long note of Davis can recall to mind gloomy atmospheres from clubs and cities oversea.

But if music serves something, it serves only entertainment? Is it music a way to escape from reality? Someone tried to explain other.

Music: language of being

According to Schopenhauer, extremely devoted to this kind of art, music stands for a lift to the Truth. When German philosopher says that that music could can exist even if the world did not, means that music goes beyond human actions, it goes well beyond the boundaries of the material and phenomenal world. What does this mean?

Music can not be a man’s product for man. It is something that man manipulate, but does not belong to him, because it rises above the boundaries of experience, where listening becomes a contemplation of pure shapes, a condition of ecstasy without meaning or concrete purpose, and which is capable of accompanying the listener to the foundation of being.

In a few words, music for Schopenhauer speaks a universal language that everyone can understand, the language of being.

Music: language of human being

Ian Cross’s interpretation about music is less metaphysical than Schopenhauer one.

Listening to music and making music is not a disinterested, innocent gesture, but always expresses a degree of relationship that the individual has with the environment, that is, shows a relational value.

Like language, music connects social groups and subgroups (think of the role it has played in rituals, wars and education). Not only that: the argument of Cross insists that the structures that allow us to understand and produce music are inherent in our genetic heritage, and that are at the same level as those that have enabled the survival of the species. If this musical skill belongs to our DNA, music is inheritance, a passage of witness between generations profoundly human.

In short, whether it is abstraction or participation, both interpretations have a point of contact: music is not just entertainment, or a pastime, and our Festival has the duty to remember it.