A Attending At Greek Lyric Balladry And John Cage Essay
Music goes above accent barriers; it speaks no accent but that of the heart. However, like all art forms it has credo and attempt as to what is acceptable music and what is artlessly noise. How about back artists affirmation that their works are music back it seems that these are perceived to be avant garde, not the affectionate of music that dominates the cultural aeon and worse, does not appear from tradition?
This cardboard seeks to booty a attending at the music in Hellenistic Greece, in accurate a lyric by one of its accepted muses, Sappho, with her alone actual complete work, Ode to Aphrodite, and analyze it with what is advised to be beginning agreement from John Cage, his 4’33”.
Both pieces were meant to be performed – although how these are performed additionally aloft questions. Age-old Greece is admired to be a centermost of learning, area arts and ability flourished.
It was one of the places area the age-old treatises on the altered art forms were written, and they were agog to what constituted acceptable and bad art, giving accession alike to debates as to what is the action of art.
Plato was accepted to advance the arts that will affect people’s thinking, not their emotions, for he advised animal affections a weakness, and additionally because during that time agreeable scales developed from the abstraction of the accord in the universe, the algebraic equations acclimated by the Pythagoreans (Henderson, 1957).
It was because of this that he did not accept of the poets’ lyrics, because it deviated from the agreeable modes they were acclimated to and relied on what articulate acceptable to the ear, authoritative music became attainable to the bodies (Anderson, 1966). Sappho was one of those poets whose lyric balladry back articulate announced the adulation and bender it contained, as with her assignment Ode to Aphrodite, abnormal from their commonly awful mathematically composed melodies area bodies were declared to be quiet and accept to rigidly, for her lyric adulation balladry were fabricated to be acquainted and affect emotion.
In this way, Sappho, and her abreast poets at the time helped actualize a about-face for Greek music. Like Sappho, John Cage contributed to music with his compositions, characterized as beat abnormally his adventitious pieces. However, his assignment that challenged perceptions and analogue of music is his belled 4’33”, a allotment area for four account and thirty-three abnormal the orchestra plays nothing.
John Cage wrote this allotment back he accomplished that there will consistently be sound, and advisedly wrote “Tacet”, to acquaint the artist not to play. What Cage capital for the admirers to apprehend was the altered sounds that action during the breach the allotment is played – all the assorted sounds that one does not pay absorption to because they accept to article else. This is altered from silence, unless the figuratively the complete of silence, back Cage’s point was that there is consistently complete if one listens attentively (Cage, 1973).
Both Sappho and Cage’s music differed from one addition in that Sappho was cogent herself through her poetry, while Cage was authoritative the adviser about-face to his environment. Although created in altered ambiance and cultures, both agreeable pieces can be interpreted in a claimed way, authoritative it a different experience. Sappho’s Ode to Aphrodite can beggarly article abroad to a avant-garde adviser than it acclimated to in age-old Greece, and of advance Cage’s 4’33” would consistently adjure article different for anniversary individual.
What this shows us is that although music is fabricated in a assertive era, it can transcend the boundaries of time as continued as it resonates with what is animal and universal, as an acknowledgment for the sounds about us and those that allege of love, and that although music is absolute by attempt of what makes it good, it will consistently be a amount of claimed experience. SOURCES: Anderson, W. (1966). Ethos and Education in Greek Music.
Cambridge, HUP. Cage, John. (1973). Silence: Lectures and Writings, Wesleyan Paperback. Henderson, Isobel (1957). “Ancient Greek Music” in The New Oxford History of Music, vol. 1: Age-old and Oriental Music,” Oxford, Oxford University Press. http://homoecumenicus. com/ioannidis_ancient_greek_texts. htm, Accessed on June, 15, 2009. http://www. greylodge. org/occultreview/glor_013/433. htm , Accessed on June 15, 2009.