A Look At Greek Lyric Poetry And John Cage Essay

medication goes beyond linguistic process barriers it enunciates no language but that of the he blind. However, like all(prenominal) art forms it has tenets and principles as to what is good medicinal drug and what is merely noise. How about when artists claim that their works ar music when it seems that these ar perceived to be avant garde, not the kind of music that dominates the heathenish period and worse, does not come from usage?This paper seeks to take a compute at the music in Hellenic Greece, in particular a terminology by matchless of its know muses, Sappho, with her merely surviving complete work, Ode to Aphrodite, and compare it with what is considered to be experimental composition from basin Cage, his 433. Both members were meant to be performed although how these are performed also advanced questions. Ancient Greece is revered to be a center of learning, where arts and culture flourished.It was unrivaled of the places where the earliest treatises on the contrasting art forms were written, and they were keen to what conventional 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 bequeath press bulks thinking, not their emotions, for he considered human emotions a weakness, and also because during that cartridge holder melodious scales developed from the study of the uniformity 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, devising music became accessible to the people (Anderson, 1966). Sappho was one of those poets whose lyric poetry when sung communicated the esteem and sensuality it contained, as with her work Ode to Aphrodite, deviating from their traditionally highly mathematically composed melodies where people were supposed 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 modern poets at the time helped create a turn for Greek music. Like Sappho, John Cage contributed to music with his compositions, characterized as venturesome especially his chance pieces. However, his work that challenged perceptions and definition of music is his notorious 433, a piece where for four proceeding and thirty-three seconds the orchestra plays nothing.John Cage wrote this piece when he realized that there will of all time be sound, and deliberately wrote Tacet, to drill the musician not to play. What Cage treasured for the audience to hear was the different sounds that draw during the interval the piece is played all the various sounds that one does not give attention to because they listen to something else. This is different from silence, unless the figuratively the sound of silence, since Cages window pane was that there is always soun d if one listens intently (Cage, 1973).Both Sappho and Cages music differed from one another in that Sappho was expressing herself through her poetry, while Cage was qualification the listener turn to his environment. Although created in different environment and cultures, both musical pieces mess be interpreted in a private way, making it a unique(p) experience. Sapphos Ode to Aphrodite can mean something else to a modern listener than it used to in ancient Greece, and of course Cages 433 would always plead something unique for each individual.What this shows us is that although music is made in a accredited 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 euphony.Cambri dge, HUP. Cage, John. (1973). hush 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.