An Evening of Music and Philosophy

Start with ‘A Stroll (along the River Lea)’ with visuals as individuals sit down and settle down. Music blurs, stage to dark, quiet. At that point organize lit with a solitary spot. SC goes ahead stage, finds the spot and talks:

Goodbye, Ladies and Gentlemen. I am Simon Critchley. Some place in the murkiness hides John Simmons. Together, we are Critchley and Simmons, not a firm of specialists, yet a stunning, throbbing, living examination in words, sounds and pictures.

Music matters. It makes a difference monstrously. For certain individuals it is important more than everything else. However, the why and the how of its making a difference stays a puzzle for us, a dim question. For what reason does music make a difference? For what reason does it address us so intensely? This is the place a little way of thinking may help. The errand of this current night’s diversion is to peer rationally into the puzzle of music, to peruse its question not so as to illuminate it unequivocally, yet to reveal a little insight in the murkiness.

Also, with regards to the way of thinking of music what other place should one first go yet to the wise insight of Albert Freiherr von Thimus, 1806-1878, creator of the concise Die harmonikale Symbolik des Alterthums (The Harmonic Symbolism of the Ancient World). He was a captivating individual, a legal counselor, a judge and a Prussian government official, an obsessionally devoted beginner whose work on music is recognized by the way that it was completely overlooked in his lifetime. He was a close companion of Baron Teufelsdröckh of Weissnichtwo, saint of Thomas Carlyle’s Sartor Resartus. Albert Freiherr von Thimus thought music, the music of days of yore, resembled this,

What von Thimus is sprucing up in rather tight-fitting nineteenth Century britches is the antiquated Pythagorean hypothesis of music, the supposed ‘agreement of the circles’. This is an antiquated, unwritten, recondite and profoundly powerful custom that starts in the fogs of ancient times however whose first literary help is an entry from Plato’s Timeaus on the making of the world soul expounded on 2,500 years back. The Timaeus was the main of Plato’s writings to be accessible all through vestige and the medieval period. Unfortunately, the entry being referred to is totally muddled. Here’s a taste,

‘From a pith impartible, and continually subsisting as per similarity of being, and from a nature distinct about bodies, he (the Demiurge) blended from both a third type of substance, having a center subsistence between the two. What’s more, once more, between that which is impartible and that which is distinguishable about bodies, he set the idea of same and extraordinary.’

You understand. However, the fundamental thought behind the music of the circles is that the wonderful bodies made sounds as they traveled through space. The antiquated Greeks knew about nine circles: the Sun and Moon, the planets that we know as Mercury, Venus, Mars, Jupiter and Saturn, the Starry Sphere of the fixed stars in the sky and the Crystalline Sphere which controlled the parade of the equinoxes. On the Ptolemaic, earth-focused perspective on the universe, these circles moved around the earth in a stately and unvarying parade. It is accepted that Pythagoras accepted (we don’t know without a doubt; truth be told, we don’t generally have an idea as no compositions of Pythagoras have endure) that the Spheres, just the same as every other item which move, must vibrate and that these vibrations must create sound. The various circles, being of various size and moving in an alternate manner from the others, produce in like manner various sounds. Saturn, being in days of yore the farthest planet from earth would give the bass note climbing through to the treble of the Moon. Be that as it may, concerning the Pythagoreans all nature was an amicable entire, the sounds radiated by the different circles should likewise be agreeable, a sort of great general harmony as the universe pivoted endlessly through space. It may have sounded something like this…

On this view, music, human music – culled or strummed with human fingers – if it was created and played by appropriate guidelines, was an impression of the scientific amicability and flawlessness of the universe. More than that, to the extent that melodic amicability was on top of the agreement of the universe, music made conceivable a fellowship with the maker of the universe, God himself, herself or no self. Music is the key by which we may enter the psyche of God. Getting the graphs of the sixteenth Century Swiss humanist, Heinrich Glarean, the melodic universe would have resembled this…

Here, the nine circles of the universe relate to the nine dreams. Obviously, the word ‘music’ gets from the Greek mousike, that workmanship over which the dreams directed which was one of the three mainstays of Athenian instruction where youthful residents were educated to sing verse to the melodic backup of the lyre, which is the place we get verse..

The key idea in the music of the circles is concordance: the universe is agreeable for it is crafted by God and melodic amicability is the human key to the perfect congruity. A long way from having all the best tunes, the fallen angel detests congruity. In the words on St. Thomas of Villanova (1486-1555), “Music puts the fallen angel to flight…and he whom no power can defeat is overwhelmed by concordance”.