Nata per Morire

This book is an attempt at understanding nurtured by the utopia of bringing to light hidden and removed aspects of the knowledge systems that legitimize the existence of music as thought and as action. The path taken is theoretical in nature in an attempt to reconstruct an overview, a bird's-eye view of processes that span space and time, a space that cannot be understood except by abstracting from any rigid geographical location and a time that cannot, likewise, be understood except by abstracting from any rigid chronological measurement. The first part of the book is devoted to the study of the symbolic dimension of music. The second part seeks to bear witness to the process of visualization of musical knowledge, without which music could not have constituted itself into a discipline. The third part turns to the invisible world of sonority in an attempt to understand the nature of music as signifying language. In the Modern Age, the language of music is counterpoint, a true mother tongue that unfolds both in writing and orally. Along with the writing-composing and performing of what has been composed comes a third action, as strongly identifiable then as it is still substantially ignored or reduced to a significant but circumscribed marginality today: the production of music ex tempore. This act constitutes the general mode of being of a musician of the past, a general mode extremely formalized and codified in the signifying language of music. By assuming the latter as a form of thought, an attempt has been made to bring his past experience back to life: an experience hopelessly remote and detached from our world, far more remote and detached than we are usually willing to concede.

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