A definition of Music rooted in the Doctrine of Correspondences and brought to bear through principles of beauty-in-truth and scientific spirituality.

By Lars Rosager | Music

Jul 08

From Miranda Bruce-Mitford, The Illustrated Book of Signs & Symbols (New York: DK, 1996), p. 102.

Greetings, all. The title of this blog post is that of an essay I just finished writing. It addresses the connections between Renaissance Music Theory and nature-based spirituality, attempting to apply similar modes of thinking to contemporary possibilities of musical style. In essence, the proposition of the essay is that Rhythm, Sound, and Form (in that order) constitute both the most distilled, and concurrently the most universally applicable, definition of Music as performed and observed in real time.

Through comparisons to other three-part phenomena both mundane and divine, I advise that Rhythm be ground zero for music learning and teaching, with Sound and Form rounding out a definition of the art that is most suitable for communing with that which is immediate and accessible, and as such Divine.

The PDF of the essay is available for open-source download by clicking here.