A Look At Greek Lyric Poetry And John Cage Essay

Music goes beyond language barriers it speaks no language but that of the heart. However, like all art forms it has tenets and principles as to what is good medicament and what is simply noise. How active when artists claim that their works are medical specialty when it seems that these are perceived to be avant garde, non the kind of unison that dominates the cultural period and worse, does not vex from tradition?This paper seeks to take a look at the melody in Hellenistic Greece, in particular a lyric by one of its known muses, Sappho, with her only surviving complete work, Ode to Aphrodite, and compare it with what is considered to be experimental composition from John Cage, his 433. two pieces were meant to be performed although how these are performed also bidd questions. Ancient Greece is revered to be a center of learning, where arts and culture flourished.It was one of the places where the earliest treatises on the disparate art forms were written, and they were k een to what constituted good and bad art, giving raise even to debates as to what is the function of art. Plato was known to promote the arts that give inspire races thinking, not their emotions, for he considered human emotions a weakness, and also because during that time musical theater scales developed from the study of the harmony in the universe, the mathematical equations used by the Pythagoreans (Henderson, 1957).It was because of this that he did not approve of the poets lyrics, because it deviated from the musical modes they were used to and relied on what sounded good to the ear, making music became accessible to the people (Anderson, 1966). Sappho was one of those poets whose lyric poetry when sung communicated the love and sensuality it contained, as with her work Ode to Aphrodite, deviating from their traditionally highly mathematically composed melodies where people were sibylline to be quiet and listen to rigidly, for her lyric love poems were made to be felt and inspire emotion.In this way, Sappho, and her contemporary poets at the time helped do a turn for classic music. Like Sappho, John Cage contributed to music with his compositions, characterized as avant-garde especially his chance pieces. However, his work that challenged perceptions and definition of music is his notorious 433, a piece where for four minutes and thirty-three seconds the orchestra plays nothing.John Cage wrote this piece when he realized that at that place will always be sound, and deliberately wrote Tacet, to instruct the musician not to play. What Cage wanted for the audience to hear was the variant sounds that occur during the breakup the piece is played all the various sounds that one does not buy off attention to because they listen to something else. This is different from silence, unless the figuratively the sound of silence, since Cages point was that there is always sound if one listens intently (Cage, 1973).Both Sappho and Cages music differed from o ne another in that Sappho was expressing herself through with(predicate) her poetry, while Cage was making the listener turn to his environment. Although created in different environment and cultures, both musical pieces back be interpreted in a personal way, making it a unique experience. Sapphos Ode to Aphrodite can mean something else to a modern listener than it used to in quaint Greece, and of course Cages 433 would always organize something unique for each individual.What this shows us is that although music is made in a certain era, it can transcend the boundaries of time as long as it resonates with what is human and universal, as an appreciation for the sounds around us and those that speak of love, and that although music is governed by principles of what makes it good, it will always be a matter of personal experience. SOURCES Anderson, W. (1966). Ethos and Education in Greek Music.Cambridge, HUP. Cage, John. (1973). Silence Lectures and Writings, Wesleyan Paperback. Henderson, Isobel (1957). Ancient Greek Music in The New Oxford History of Music, vol. 1 Ancient and oriental Music, Oxford, Oxford University Press. http//homoecumenicus. com/ioannidis_ancient_greek_texts. htm, Accessed on June, 15, 2009. http//www. greylodge. org/occultreview/glor_013/433. htm , Accessed on June 15, 2009.