User:FloraC/Fundamental principles to musical sense: Difference between revisions

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 We have seen that the major concern is how one decides to control the music pieces. Some modernist composers valued it so much and even acted such that full control of their musical materials is an achievement to be very proud of. However, such impression of controlling may well be but an illusion. What is the subject that controls? What causes the piece to be what it is? The truth is in musical feelings.
-Musical feelings are feelings invoked from an understanding of musical experience, which are fundamentally musical with no verbal counterparts in any existing natural language. For example, experiences of the major key and of the minor key invoke feelings distinct from each other. One may be tempted to signify those feelings by "majorness" and "minorness", respectively. Unfortunately, that not only misses the point but also stereotypes them with oversimplified invoking sources. The necessity to verbalize musical feelings should really never be found, as beautifully put by Felix Mendelssohn, "the music fills the soul with a thousand things better than words"<ref>[https://www.gutenberg.org/files/50473/50473-h/50473-h.htm#page_298 "To Marc-André Souchay, Lübeck. Berlin, October 15th, 1842", ''Letters of Felix Mendelssohn Bartholdy from 1833 to 1847''], Project Gutenberg. </ref>.
+Musical feelings are feelings invoked from an understanding of musical experience, which are fundamentally musical with no verbal counterparts in any existing natural language. For example, experiences of the major key and of the minor key invoke feelings distinct from each other. One may be tempted to signify those feelings by "majorness" and "minorness", respectively. Unfortunately, that not only misses the point but also stereotypes them with oversimplified invoking sources. The necessity to verbalize musical feelings should really never be found, as beautifully put by Felix Mendelssohn, "the music fills the soul with a thousand things better than words"<ref>[https://www.gutenberg.org/files/50473/50473-h/50473-h.htm#page_298 "To Marc-André Souchay, Lübeck. Berlin, October 15th, 1842", ''Letters of Felix Mendelssohn Bartholdy from 1833 to 1847''], Project Gutenberg. And thanks to [https://youtu.be/K14l_81Sl0c Adam Neely's classic demonstration] on this. </ref>.
 So why would one feel like composing in the first place? It is important to point out that musical feelings lie just in the composer's conscious mind. As one sets out to compose, the musical feelings emerge and flow with tremendous driving force like a defrosting river. As a necessary consequence, the exposition of the composer's conscious mind, or an exposition of controlling if we will call it, entails shaping music following musical feelings. That is exactly where the maximum of musical sense consists.
-In contrast, what is sometimes referred to as "control" by the modernists is the scheme where the subject is deliberately departed of musical feelings, an exercise to feed the mind with less relevant materials as they are not rooted in an understanding of musical experience, with its driving force derived from nowhere else than superstition. So we see how the modernist's concept of control alienated the subject. There is no surprise those modernists only produced craps with no musical sense.
+In contrast, what is sometimes referred to as "control" by the modernists is the scheme where the subject is deliberately departed of musical feelings, an exercise to feed the mind with less relevant materials as they are not rooted in an understanding of musical experience, with its driving force derived from nowhere else than superstition. So we see how those modernist's concept of control alienated the subject. There is no surprise those modernists only produced craps with no musical sense.
 Of course, as a listener, agency is no transparent, and the composer's intention is not revealed by simply studying the work. That is the reason why it is important to live in a society.