"The music is primarily designed to express the subjective interiority, with its subjective nature of intimacy, this event is also sensitive to the shape of a communication made to us by a living person, which puts his whole soul into the work it performs. The musical performance is a communication from soul to soul. The passion and imagination need spill freely in the sounds, the music should uplift the soul, it is completely absorbed in this sense, the rise above his subject and he thus creating a region where, freed from this absorption, it can take refuge in the pure barrier-free sense of itself. This is what is, strictly speaking, the principle singing, singing to music. Here is the development of more special feeling itself, love, desire, joy, which is the main thing: it is the interiority of the soul that controls everything, which flourished in his pain as in joy, and enjoys itself "GWF Hegel, Aesthetics , 1810-1835.
We must dare see: the vast majority of our artists find these words in their definition of supreme music. Everything happens for soul soul is "the deepest of themselves" that our singers are in their song, to reach our deeper. (But another observation is that Schumann achieved a thousand times better, in our opinion, to express the inner subjective as any songwriter today. Or, his soul is incredibly beautiful. But here we are to judge the souls of our contemporaries.) Anyway, that's almost 200 years that a huge part of music production conforms to the aesthetics of Hegel, which emerged during the century of the worst evils . Perhaps a true challenge of our age should be accompanied by a questioning of the definition of music, ANOTHER GOAL. Should have the project continue to enjoy the Traumerei, but this time archaeologically: "Ah, well, these people of the nineteenth century, they were funny with their music interiority of the soul ".
Looks rather, a scene of the nineteenth century that lingers long, and why bother? And one wonders: what a scene for the XXI century?
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