Music and Ethics

It seems a bit naive to me today to glimpse an ethical role for music, what do you think Leo?

Hi, yes I believe there is a bit of naivety in this type of reasoning, but naivety is not a negative thing if it means not resigning oneself to a passive role in the face of everything. The category of the musician is mortified and almost extinct; claiming a "high" role of contribution to civil progress and justice seems to me a very positive impulse of pride.

How this is realized in daily practice, however, is another question that is difficult to answer.

I find it passive nonetheless to limit oneself to painting a scenario; a person who actively approaches a problem tries to propose solutions as well, and in effect you say:

leoravera wrote:

How this is then realized in daily practice is another question that is difficult to answer.

... in effect, if only the answer were the problem

What sounds strange to me is that it doesn't seem so obvious to me that someone who plays an instrument is automatically a good person.

But art improves people, doesn't it?

Annuccia wrote:

What sounds strange to me is that it doesn't seem so obvious to me that someone who plays an instrument is automatically a good person.

The meaning of the text does not seem to me to properly take this concept for granted, which in fact cannot be absolute and certain; on the contrary, the creative act can very well be a channel through which the most ineffable impulses, and even the deepest fears, anxieties, and uncertainties, find a very precise place.

Sometimes (using an example much simpler and more direct than the text you have read) when I write, I feel "unethical"; I feel that I am doing something I like, but in an almost disrespectful way, because part of me has specific, clear, genuine intentions so to speak, while the other is in a hurry, is impatient, nervous, and in the end everything manifests in a manner that never touches bottom—in this case understood as solid foundations (not only musical, but also life foundations)—but remains neither here nor there.

In this, I feel little like a "musician," little like a composer, and even less like an artist (a word that I almost detest).

On the contrary, I find it interesting that those who listen (it has happened lately) first have certain sensations, a few minutes later others, and say "I'm not so sure anymore" about the sensations I had before; to me, this has more value than a compliment, because it means that somehow (even if it doesn't seem too much to me because instinct always prevails despite being very rational) I have imbued the piece with that insecurity that I have always lived with; it may be liked, it may not be liked, it may leave people unconvinced, but these sensations perceived by others are, for me, pleasant confirmations (within uncertainty, therefore a paradox).

Piccinesco wrote:

On the contrary, I find it interesting that those who listen (it has happened lately) first have certain sensations, a few minutes later others, and say "I am not so sure anymore" about the sensations I had before", and this to me has more value than a compliment, because it means that somehow (even if it doesn't seem too much to me because instinct always prevails despite being very rational) I have imbued the piece with that insecurity that I have always lived with; it may be liked, it may not be liked, it may leave one unconvinced, but these sensations perceived by others are pleasant confirmations for me (in uncertainty, therefore a paradox).

Demo of having understood little about this part

Pio wrote:

Demo of having understood this part very little

I was wrong to write " (even if it doesn't seem too much to me because instinct always prevails despite being very rational)", because it is something irrational.

The example concerns a friend who was listening to some pieces: at first, he was convinced about some and less about others, then after a few minutes, listening to them again, he had almost reversed course, saying that he was no longer as sure as before about the ones that had convinced him most, leaving him with a feeling of uncertainty; this is what I pointed out, the aspect of perception, which I think is also strictly linked (it could not be otherwise) to the composer's state of mind. There is always someone trying to separate this aspect from know-how (technique, craft, rationality), which is true but only in part; everything would not be what it is without the instinctive aspect, whether people like it or not.

Even expressing one's own opinion is from the start an instinctive approach, dictated by interest in the subject, or for other reasons; subsequently, rationality, more or less dominant, will make its way, allowing thoughts and considerations to be expressed in the most "objective" way possible.

He is only under investigation, but what would the ethical relationship be?

http://www.pianoconcerto.it/forum/index.php?/topic/3634-che-storiamoglie-segregata-indagato-violinista/

Starting to talk about ETHICS by linking it to music is an interesting discussion; it can be a driving force for musical rebirth in the world.

Orders of Music_Presentation of the DIALOGO SONORO seminar

Open content (youtube)

I would be happy if Tiger introduced the video. No, because this video also has nothing to do with philosophical ethics...

If you had a chance to watch the video, it clearly refers to Music and Ethics (as per the topic subject)... anyway, I didn't quite understand the second sentence: "non ha anche fare"; what do you mean? That it has to do or doesn't have to do with philosophical ethics? And then, we were talking about ethics and music, or am I wrong?

iPad autocorrect, sorry: it has nothing to do with philosophical ethics.

Anyway, since at least I believe that contextualization has its utility, this is a video from the Aleph society which deals with NLP, neuro-linguistic programming, i.e., motivation courses, self-affirmation etc. etc. Philosophical ethics is something different; perhaps it's just my own bias, but generally when one speaks of "ethics," one means philosophical ethics, not these courses.

Much of what the guy says, especially when it has to do with the history of philosophy, is contestable. The use of musical terms is highly metaphorical. This way of fleecing people by boasting about methodological revolutions makes me want to vomit...