By Maria Odete Madeira
Source: Gonçalves, C.P. (2019), Messengers,
The myth assigned music a divine origin. The Pythagoreans, in turn, referred it (music) to a metaphysical acoustic, in which the intervals and the numerical relations, underlying the relations of consonance, were considered to the formulation of a doctrine of the ethos of the tonality, of the rhythms and of the instruments, all of this correlated with the effects produced in the listeners.
The order of the world and of everything was configured by the harmony and union of the diverse (Philolaus), and this harmony was determined by numerical relations. The soul of each man, as sound, could enter in tune with the order of things and with the music of the spheres.
As Mathesis Universalis, music can be considered as a combinatorial topology of signs that expresses in a hieroglyphic resonance that which the logos hides, Leibniz called it the hidden exercise of an arithmetic of the soul.
This is about questioning the organic and trans-organic feeling (the nostalgy in Mähler/Adorno) about the temporality and trans-temporality to attain an outside of the chronological time, an urgrund (Schelling), and hence concurrent with the first creation.
Musicality is not necessarily restricted to musical pieces. Letters and phrases evoke sounds, and it is possible to convey an additional sense through the topological motion of the verb. The written text has a musical semantics and syntax naturally embedded through the resendings between the written text itself and the verbal articulation (even interior to the reader) of that same text.
Each written text resends towards a metaphysical sense as its first cause. The text is not surrounded, but crossed through by its limit, marked in its interior by the multiple tracks of its margin. Proposing simultaneously the monument and the mirage of the trace (différance, Derrida, Marges de la Philosophie), the trace, simultaneously marked and erased, simultaneously alive and dead, lives, as always, from simulating the life in its kept inscription.
Schopenhauer considered the existence of an infinite will, independent of all the individuation, existing in any living being as an infinite principle, unique and indivisible (or noumenon), without any connection to space/time/causality that, for Schopenhauer, constituted the principium individuationis. This will objectivates itself as an eidos, accessible through art, revealing itself in music as direct and immediate presence of a transcendence (a perspective that Wagner’s music exemplifies).
Steiner (Grammars of Creation) states that music signals and puts in resonant motion that which, in humans, exists as noumenon.
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