TECHNIQUE AND THEORY UPON COMPOSITION VERSUS COMPOSITIONAL WORK AS RESULT OF RECEPTION (I)
TECHNIQUE AND THEORY UPON COMPOSITION VERSUS COMPOSITIONAL WORK AS RESULT OF RECEPTION (I)

Summary/Abstract: The verification of the human projective mechanism occurs through the confrontation amongst the most variegated systems of values, not only among the complementary ones. What happens when the value of the masterpiece much exceeds the audience’s taste and aesthetic ideal? The human being’s transformation implies a permanent verification of the “being” of the music; whilst listening Beethoven’s 9th Symphony, the receiver is attracted as a magnet towards re-listening to it. Through this continuous psychological “confrontation”, the being is projected in rendering specific the contemplated object. However, of our days, a change of paradigm occurred: the psychological confrontation is no longer focused on the contemplated object, but on the margins, on what wraps it: on the scientific conduct of the object. The enthusiastic transition towards our times even more emphatically avers a discontinuance from the conception of “normality” of the classical artist or of the Beethoventype artist, replacing their behaviours with those of the “modern” artist. The latter pre-eminently wishes for the state of intellectual diffusion, for multiply approaching the knowledge fields: artistic and scientific altogether.

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