The Entertaining and intellectual music

By the word music it is already meant any kind of sound connections, as today the styles, currents, types and techniques of music are so diverse that it has become difficult to take them all. In fact, even in the encyclopedia the term “Music” is treated as art, or the science of organizing sounds. Each of us, according to the models that have been approached, served and nourished, has created, along with his tastes, different concepts on music. Someone thinks that music is designed to entertain people, make them more cheerful, or heighten their humor. Someone else thinks that music is created to inspire people in their lives, to make them more active, stronger. Someone else consider music as an expression of the subtlest feelings in people’s lives, and of course someone as a supra-rational, thoroughly intellectual means of communication as a high expression of the human mind.

Often being considered as a universal language of humanity, still music has not been used as such. Even when it is about the works of List, Tchaikovsky, or Penderecki not many people achieve the happiness of communicating with this music. Meanwhile, the Lana Del Rey or others of pop music industry concert are taking place  thousands of euphoric spectators who pay $ 75 per ticket. Is it for the simple reason that you need to learn the language of music, or are we moving towards this model? In the case of entertaining music the primary element – amusement – is quite sensitive, in the case of Penderecki’s intellectual music the music as well as the philosophy of the author’s time must be known to communicate his musical ideas.

One should not only learn its grammar and rhetoric, not just its syntax and morphology, but one or more other elements that make it a three-dimensional language. This is because music communicates simultaneously through tonality, harmony, rhythm, melody, orchestration, musical structure, various applications, recordings and finally the art of interpretation. It has been proven that every element, every compositional idea, every intelligent element that musical analysis reveals has existed in the composer’s mind as well.It is even thought that besides what we perceive there are dozens of other ideas that we cannot observe, that do not appear clearly, or that are not fully realized by the composer. I would call the composer – the first holder of ideas that his music carries, and along with all the kind of real musicologists, who are the best connoisseurs of this divine humane language. Behind them come another set of worthy artists who are the instrumentalists. They perform the insufficient marks that the composer has placed on the score and together with them transmit a significant part of their intelligence, their knowledge and their loyalty. If their ability is to execute the play that is most marked by the composer’s score, then we can say that the play achieves almost the perfection. But if the performer, by emphasizing or exaggerating the various elements, adds ideas and the power of their communication, adds many important elements to such balances as are determined by his important culture and intelligence, then we can say that the instrumentalist recreated the work wonderfully.

All this clarification aimed  to show the importance of people who understand the musical language (of  a language that not everyone understands equally) and precisely the specific importance of this language. To return to the main topic it should be said that not many people have the luxury of understanding and communicating with musical ideas (always the meaning in music is of a musical nature), often even when they are simple. But everyone, according to the culture and of his judgment, can immediately grasp the other element of music: the amusement one.and to enjoy music, whether in the halls, in the squares, or even in the bars. On the contrary. But the value of music cannot and should not stand only here. The main task of professional artistic institutions is to emphasize and emit precisely this specificity of music. Its power for intellectual communication, thinking to bring as many followers as possible without reducing the level of communication, without departing from the essence of this communication and even increasing its level.

Certainly the heads of institutions want to be followed by as many spectators as possible, possibly by all the people, but this is not achieved by adding a dose of fun to the music. Even the cultural strategy of a country must by all means achieve exactly the levels of this communication whose space is unlimited. But politics, which is in the interest of involving as large a population as possible, usually does the opposite, without thinking of finding a way to naturally raise the level of listeners and increase the educational opportunities that music preserves in itself. We often find that external elements come first and not only overcome the purpose of the music itself, which is education, but they also create trendy examples that are at best extra music and alien to the human educational process.It is this important element of music such as education has started to be seen very little. This is for several reasons: The music market, which seeks to sell as much as possible so no one can judge it. Politics, which, in our case, is interested in arousing the interest of a large mass of people who do not think longer on it. Social ignorance, whose myopia does not  distinguish neither music nor education nor the connection between them.So the situation would be getting better and better due to these factors  we just wrote about and actually they are getting worse for the truth of my opinion. Are there solutions? I think when the body gets sick it can be cured, case by case, with medication or surgery. And in cases of serious illness like ours, surgery should aim to remove all of the disease-generating part, no matter how painful it may be.


Nestor Kraja

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