The peculiarity of music as a special esthetic value is being disclosed in relation with applied and art aims of creation. The formation of primary genres is linked with the execution of applied tasks (applied music) by the music, which means the usage of beatified expressive means. The value of music in these conditions depended on its typical shape, on its closeness to standard specimens. The formation of an autonomous musical language and special scope of music spreading unequal to not life, not ceremonial, not worship yielded to the realization of new aim: the individual embodiment of an individual author’s idea (composition) in these conditions, the value of music consists in non-repeatable structures of musical composition and simultaneously in internal meaningful justification of means chosen by the compositor. The decrease of quality in autonomous music may be the result of the standardization of the author’s thought (for example, parlor music), or the self sufficient orientation on the usage of the original effects, contradicting to the internal integrity of the composition.
Special aspects of musical art — the ratio of its time nature (any musical phenomena exists as an irreversible sequence of intonations and intonation complexes) and art semantic integrity. The primary type of integrity in music is presented by improvisation — the music playing process not having functional different means for designating the start and end of a piece. In this case, the impression of integrity is generated owing to that, the elements, which are the components of improvisation, are related one to another, becoming variants of the initial melody, rhythm and harmonic model. The variation shape is close to the improvisation, in which the functions of the start and end differ (theme and its variation, sometimes terminating the return of the theme). The most complicated type of musical integrity is presented by terminated musical shapes, in which functions of the start, development and termination are expressed by special musical means (for example, the exposition, development and reprise in a sonata shape. In this shape, the sound time process is divided into phases related with one another as per type of reasons and consequences. The perception of such shapes assumes the activeness of listening attention capable of comparing, correlating and retaining in the mind past and present, and anticipating the futuristic development of a musical idea. In terminated shapes, the sounding time acquires a special spatial: capability in the logic of the ratio of the parts of musical integrity. In this way, dialectics "shapes of the process" and "crystallized shapes" occur. The termination of a musical composition in term turns by a procedure in execution interpretation, which retains a completed image composition in the mind of the listener. It again will be played in the process during the introduction with other executions and versions, with a different understanding of this style.
About musical art, there is a saying "the most sensible among the arts". For example, it is impossible to perceive poetry or painting at the level of physiological reactions, music not only can be perceived but also can be played without activating the intellectual, and the horizon of such listening and music playing is sufficiently wide (the meditative practice of switching off of rational thinking using specific tunes, dances in disco clubs, the singing of patients with speech violations and the disorder of logical apparatus). The neurophysiologic actions of music have been used in medicine for a long time.
At the same time, as per tradition, coming from the earliest times, music is accepted as the most generalized abstract art — the artistic equivalent of philosophy and mathematics. The romantic thinker Novalis saw the universe formula in musical proportions.
Corporate Music in the news:
The coffee shop behemoth Starbucks has teamed up with Virgin Records to release a CD of rare Rolling Stones remixes, B-side recordings and hard to find life performances. The band made the announcement of this joint venture on its website. The CD will be called "Rarities: 1971-2003" and will be sold in Starbucks stores and in other retail outlets in both the United States and in Canada. The coffee company actually has a music arm, Starbucks Hear Music, and has worked closely with Virgin Records and the band to comb through the band's very significant archives of music. Included within the 16 tracks on the CD will be a cover of Chuck Berry's "Let it Rock," originally the B-side to the 1971 single "Brown Sugar." The CD also will include alternate takes of several of the band's biggest hits through the years including live versions of "Tumbling Dice," "Wild Horses" and "Beast of Burden." There is also a dance remix of "Miss You." Mick Jagger remarked that he is pleased that some songs that have never appeared on an album will be seeing (or hearing) the light of day.
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