This is an old revision of this page, as edited by Hyacinth (talk | contribs) at 03:27, 26 January 2005 (Even sensations must reach the mind to be perceived. etc). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.
Revision as of 03:27, 26 January 2005 by Hyacinth (talk | contribs) (Even sensations must reach the mind to be perceived. etc)(diff) ← Previous revision | Latest revision (diff) | Newer revision → (diff)Greetings to Hyacinth -- I tinkered with your edit, reverting part of a sentence. I am going to be cautious about further edits, however, because I have done a fair amount of composing and my formulations about the process of composition may stray into the realm of Original Research. --Herschelkrustofsky 21:07, 15 Oct 2004 (UTC)
- Where else would comparisons by listeners be made? And why would those comparisons not apply to development. Hyacinth 21:47, 15 Oct 2004 (UTC)
- You are asking, where other than in the mind? Well, in the ears, I suppose; there is a bit of a controversy about whether music is primarily an experience of sensual beauty, in which case, Ravel and Rimsky-Korsakov would rank higher in the estimation of many than they presently do. There are both a sensual and a, shall we say, intellectual/spiritual aspect to the musical experience, and development belongs to the latter category. --Herschelkrustofsky 00:49, 16 Oct 2004 (UTC)
- Sound must pass the ears to reach the mind, but still you feel the need to specify? Hyacinth 19:36, 16 Oct 2004 (UTC)
- Even sensations must reach the mind to be perceived. Hyacinth 03:27, 26 Jan 2005 (UTC)
- Also, I should explain why I prefer the expression "incarnations of the idea." It is because none of the "incarnations" is itself the idea, but rather, the process of transformation is the idea. --Herschelkrustofsky 12:37, 16 Oct 2004 (UTC)
- It seems unecessary. What is developed in development? Hyacinth 19:36, 16 Oct 2004 (UTC)
Perhaps I am overcompensating for the notion, that I am certain is widespread, that the essence of music is a pleasing melody that evokes "feelings." I think it might be useful to find a quote -- perhaps you know one? -- from a noted composer, on how melodies are chosen to meet the requirements of a developmental idea, and not the other way around. I recognize that this is not universal practice among classical composers, but as you have pointed out, not all putatively classical music has development. --Herschelkrustofsky 19:57, 16 Oct 2004 (UTC)
- I meant that the point seems obvious, but I now realize that doesn't mean it shouldn't be explicit. It is not currently obviously stated in the article, you should add an explicit mention to the article, this then explains "incarnations". Hyacinth 03:27, 26 Jan 2005 (UTC)