New PDF release: Berlioz, Hector 's Symphonie Fantastique', Op. 14 An

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Additional resources for Berlioz, Hector 's Symphonie Fantastique', Op. 14 An exploration of musical timbre

Example text

F. I'll try, but I'm afraid I won't come up with much. I suppose I've got too many remnants of my absolutist notions in my head. Rectifying a perspective on a thing as nebulous as this is something of a problem! 3° THE MUSICAL IMAGE Y FRIEND, next day, came rather slowly up the M steps to my door, and I judged from his gait that he was still puzzling over the questions we had raised. So I asked him: /. Well, how did you get on with the musical image? F. Not too well; but I think I found, on the way here, what the trouble was.

If we could calculate them, in dynes, we should certainly have a much sharper image of structure. 7. Of structure only? But I like your figure. Haven't we, in fact, some kind of a dynamometer? F. Do you mean the auditory nerve? Or the center to which it leads? It registers the smoothness of consonance and the roughness of dissonance, and is very sensitive to intensities of all sorts. 7. Is there nothing beyond that center? Can it make all the discriminations on which the appropriateness of a musical device to its purpose must be decided?

But from what we've found today it looks, doesn't it, as if the something more in music were an image — perhaps, rather, an awareness — not of the facts of experience but of their significance: a significance which, for him who encounters the fact, takes the shape of an emotional attitude toward the fact? F. Compared to the mental image of fact, the emotional attitude toward it looks too obscure to be formed into an image. But we certainly do discriminate the facts of experience as significant or insignificant, and I can see that significance, perceived, can take the shape of emotion.

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