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Henry David Thoreau experienced music as a vital gateway to the physical and then to the spiritual universe. Transcendentalists proposed that music be regarded as an art, a language, and a prophecy. Its dual capacities, according to them, were “to hallow pleasure and to naturalize religion.”.
May 15, 2024 · As a performance art, music is intimately involved with time. Yet it also transcends the ephemerality of time: as Stendhal wrote, “The only reality is music is the state of mind which it induces in the listener.” To play music is indeed to stop time, or to experience time in a different way than the “clock time” of the workaday world.
Transcendentalism is a philosophical, spiritual, and literary movement that developed in the late 1820s and 1830s in the New England region of the United States. A core belief is in the inherent goodness of people and nature, and while society and its institutions have corrupted the purity of the individual, people are at their best when truly "self-reliant" and independent.
Nov 17, 2023 · The First Tunes of the World | History Cooperative. Who Invented Music? The First Tunes of the World. Syed Rafid Kabir | Entertainment, Who Invented, World History | January 15, 2024. Music is one of the most universal and ancient forms of art, and its origins are deeply rooted in the history of our species.
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Feb 14, 2018 · Set in Thasian marble and of Western Green origin. Discovered in the Villa Ludovisi, Rome. In Politics, Aristotle considers the importance of music in youth training, emphasising its reputation as a practice that builds character, affords amusement and leisure, and cultivates the mind ( Aristotle, 1959 ).
- Anton Killin
- 2018
Dec 30, 2020 · There’s also the sacramental symbolism, the elements of immanence and transcendence in music that can be incarnational. You fell away from Catholicism at 13, spent decades as an evangelical, and ...
In that respect, the account has some similarities to the theme of Chapter 8. Another aspect of the experience is the total absorption: he feels as if he is in the midst of the play and the music, thus providing a further example of what was covered in Chapter 7, about merging with the music.
