Music is not an idea, a call, or a message, but rather a sensory trick, the depth of which lies in the arbitrariness of its meaning, and it is not a meaning that we can judge by understanding it. Hence, the philosophical influence on music is not an influence on the essence of the field, but rather by suggesting the contact of the producer of music with existing philosophical achievements.
Classical music remained a class accusation with the rise of Marxism, and ended up being a popular meal served in shops and entertainment venues. Music was blamed for the error of ideas, and became a hanger for the collapse of the major theories in the three centuries mentioned at the beginning of the article. Evangelos Moutsopoulos wrote a study on “Metaphysics and Music,” a study that began from the hypothesis that music is a sign, as he saw at the end of his study “that music, like other artistic activities, expresses metaphysical questioning, but with greater force, by multiplying it in its own way.” He derives the significance of music from Platonic foundations that link music to the universe, but music is a continuous innocence, and its innateness is not clouded by the buckets of exhausting theories that use music religiously, militarily, or as a sign.
Music has remained committed to its independence and its influence by philosophical spaces, not a semantic influence but rather an influence that gives music its ability to resist its domestication, whether within the “communist accusation” or any other claims, and the hammer of struggle cannot smash the venerable house of music.
The arts were not isolated from discussion circles, theoretical fads, or the boiling of interpretation. They were present and immanent, and even preceded in many cases. The evidence for this is that music was linked to human transformations. It interacts with the environment, takes from it and gives to it. This is because the arts in general, and music in particular, soon outwit theory. If we contemplate the course of civilizations and the sparks of theories, we will find that music either precedes transformation, is immanent to it, or follows it. It is affected by transformation and is active in it. Nations whose transformations were founded within the space of music were able to inaugurate an eternal project to nationalize music and make it a dominant language among societies. Hence, the world would be in vain without music or error, as Nietzsche writes.
The late great Fouad Zakaria complained about the lack of Arabic music while we were drowning in the Arabic “song”, and the song is not linked to the musical space in the broad sense, but the sounds turn into an army of servants for the words, hence even our music became poetic, the song overwhelmed the music in the Arabic case, and the Arab musicians are in a sense part of the “poeticization” case, as they are linked to the melodies and words, but the models of musical composition in the European or Russian style were not prevalent in the Arab world, because the musical space is a poetic and verbal space, hence the deficiency in the Arab musical ability at the level of broad composition, so that the poetic composition or the transformation of the conflicts of music to be a servant of the poems prevails and then creates the song.
*Saudi writer
#Art #struggles #ideas