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Musical Platonic choir Correct orientation towards the pleasures and pains is according to the philosopher Plato (427-347 BC) the basis of appropriate education for young people who by nature are inclined to move continuously and emit all sorts of sounds, so these natural inclinations should be guided in choirs that consist precisely of the union of movement and song, teaching rhythm and harmony that can also be pleasant. It remains to understand what can be really pleasant and if it is really beautiful what is beautiful and vice versa what ugly is ugly, in fact, only the young man with a thorough education can understand if the music is melodious and harmonious, the movements well-paced and if the choir can be represent virtues or vices. In the foundation of a type of "ideal" state should teach beautiful movements and harmonious songs that would almost always the same since ancient times. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: Nov 12, 2011 
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 Plato musical education The accurately education of young according to Plato (427-347 BC) is fundamental to building a state of ideal type and therefore should be exercised with music, dances, choruses that are union of song and dance, but these arts should not be based on pleasure on deceptive imitation of reality of the senses and aim mainly for educational purposes. The construction of this "utopian" state is an objective of the Athenian philosopher, who will try to achieve for most of his lifetime risking the life, and Justice and the Supreme Good is the very foundation on which are hold a series of laws that regulate the coexistence of citizens in a harmonious and musical mode. Most of the information provided in the Platonic dialogues about these sets of rules vary according to the speculative phase reached, and in the final stage of the life of the philosopher seems to have been sorted and transcribed by a his disciple. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: Oct 07, 2011 n: 1704 The Platonic beauty in the art The art being imitation of the sensible world and completely immersed in the corporeal nature according to the philosopher Plato (427-347 BC) is morally harmful and almost a moral obstacle to the elevation, in fact, from a poem, a music or a painting result the reality misleading of the organs of senses which are so very far from the true. When we look at a painting or hear a musical song our sensibility is attracted by a beauty that is not the true reality, but refers to an ideal of invisible Beautiful to the senses that can be almost "intuitively guessed" by the eye for its beauty and brightness from a view trained with the philosophy. Then the disciple Aristotle, with aspects related to the material, found in the arts of the cathartic potential of purification through the pain, positive values in part already described in Plato's dialogues, but only if purified from the rhetoric which usually abound in these works of fantasy. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: Sep 07, 2011 n: 1678 Platonic musical legends From a step of a Platonic dialogue could result that kind of legend that describes the Ligurian as lovers of beautiful singing, in fact the philosopher Plato (427-347 BC) to explain the joke that is hidden in the false rhetoric plays between the similarity of the term that describes the melodious voice of the Muses and the offspring of Liguria, in the text and then uses a kind of musical technique through a particular choice of the Greek terms. In the literary scene of fantasy, Socrates (usual performer of the dialogues and almost forced from the other person) before invoking the Muses is covering the head for not being ashamed and embarrassed since it will mimic the false way to speak of the rhetoricians, but immediately after retracted the speech with a recantation recurring to the myth of the so-called "cicada" men and the philosophy as the only art really useful for composing realistic speeches. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: Jul 13, 2011 n: 1630 Platonic musical voice The voice according to the Plato philosopher (427-347 BC) is one and infinite to the same time and consists of alphabet that can be understood by their intensity and quality, but we do not know the unity and infinity since that each thing in there are limitless variety and you can see inside the number (concept probably derived from the Pythagorean). Determined to be able to recognize by ear a bass tone, from a sharp or a medium should also recognize the intervals related to the number of these notes and their various reports that the ancient scholars of music called "harmony", and then the same movements of the human body may be treated with these reports and measured with numbers, which in this case we will call "rhythms" and "meters". To understand a particular musical unit does not have to look at the nature of infinity, but to a numeric range, and vice versa from the number to the multiplicity. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: May 27, 2011 n: 1590 The Pythagorean musical ratios By comparing the sounds made by different monochords and adjust the movable bridges and weights that tended the strings Pythagoras (about 570 - 497 BC) was able to identify the relationship of musical consonance or criteria that had to comply with an order that reflected the universal mathematical beauty and the perfection of nature, in fact for the Pythagoreans the music had an almost religious function. The Pythagorean scale was characterized by intervals of an octave and fifth perfect (1 - 9/8 - 81/64 - 4/3 - 3/2 - 27/16 - 243/128 - 2/1) that to the "modern" ear might seem dissonant, but Pythagoras respected the mathematical harmony and of the numbers more than the feeling given by hearing sounds. To note that the Pythagorean diatonic scale was adopted until the Thousand and six hundred or at least until the time in which Josephus Zarlino from Chioggia (also in polemic with Vincent Galilei) proposed some amendment to "correct" pitch. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: Apr 30, 2011 n: 1567 The artists and the Platonic art The art to be truly educative should be not only pleasant but also useful and should correspond to ideals of goodness and virtue that for Plato (427-347 BC) can only belong to the philosophy, in fact the artist mimics the reality that is not sensitive and then the true reality is only the illusion of the senses, then it is art imitating an ideal world is three degrees away from reality (in practice is a copy of a copy). The negative educational deception of the art will increase if the artist in his works playing with his personal vision of the material world also threatens the harmony of the reality, so the beauty of art should correspond as closely as possible to the truth that hide beneath the erroneous perception of the senses, such as when you declaim a poem, music or painting an object that without have direct knowledge of it if not works with own hands. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: Mar 01, 2011 n: 1513 The Pythagorean musical scale The Pythagorean began to study the relationship in the musical consonance obtained from the variation of the length of the strings, leading to establish a musical scale or "range of Pythagoras" which reported the sounds of a fifth successive natural right (F, C, G, D, A, E ,B) in the range of an octave, since the numerical relationships between the various sounds made up the harmony which was based on their music theory. Pythagoras (about 571 - 497 BC) is considered by some as the founder of acoustics, designed more in philosophical sense that musical, thanks to its purifying and educational function, the rhythm and harmony that leads to that kind of universal beauty that resulted from the structure of the music due to numbers. These properties were also positive by the harmonic relationship between sounds separated by an interval of an octave, of fifth and fourth which is repeated endlessly in the musical scale. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: Feb 09, 2011 n: 1496 The musical Pythagorean purification The Pythagoreans studied music not only for mathematicians but also for educational purposes in accordance with their philosophy because it had a "purification" function of the spirit approaching through the mathematical correspondence between sounds, arrangements and numbers to universal values, in addition, the presence or the absence of precise numerical relationships is the criterion of discernment in the overall quality of hearing. The music had to be reduced to number that is understood as the substance of things, and then generating power at the basis of sound and music with positive functions even for the human organism. It should be noted that recent studies have found activation of certain brain areas appreciate listening to music with the release of dopamine that make euphoric, but probably more the of the effect of musical compositions (criticized by Plato) the Pythagoreans studied the harmonies of numbers obtained from individual sounds or agreements. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: Jan 10, 2011 n: 1470 The Pythagorean harmony Studying the relationship obtained by playing the monochord that was almost a mathematical instrument than musical since was fitted with a graduated scale and a number of adjustments, Pythagoras (about 570-497 BC) developed his theory of universal harmony based on the numbers and learn that would form all that is in the nature and the various proportions that are obtained by playing the string, mirror of those that govern the motion of the stars. This consideration also reported by several authors has led to the development of a wonderful harmony almost as a kind of heavenly music produced by the movement of the stars whose orbits had to comply with appropriate intervals, rhythms and ratios derived from music relationship and from some mathematical theorems that hid in their demonstration the secret of incommensurable numbers, principle of cosmic conception of universal harmony. e-mail: info@salutary.eu Tel: +39 338 1809310 Date: Dec 10, 2010 n: 1444 Music * The author doesn't assume some kind of responsibility for the bad use of the articles councils (all rights are reserved) |
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