In a note dated 4 March 1915, the great Austrian philosopher Ludwig Wittgenstein wrote: "The melody is a kind of tautology, it is finished and complete in itself, sufficient unto itself." This leads us immediately to the heart of the debate about what music is and its relationship with the noise. Starting from it we can get the key that could permit the resolution of many problems concerning this matter. The study of the relationship between man, world language and implemented by the analytic philosophy of the last century can lead to a justification of the results and artistic results of contemporary music. First I will explain in general terms what I mean when I speak of music as a language, then instead linguistically analyze the various differences between the various musical systems that man has invented, focussing especially on what this blog is dedicated, namely that of Field Recordings. What does it mean that music is a language? Or more precisely, in the sense that something artistic can arise through linguistic processes? The most obvious difference between art and language can take right from the start: the language has a value of communicative objects, art no. This is true for any art form, in addition to writing in which the artistic influence of the conceptual apparatus that wants to be informed, and art as old as the Roman, in which art had propaganda value, is nevertheless a fact that today no one would dream of joining a clear communication of a concept to an artistic beauty. The proposition and yet not only the type of communication has another function: to represent reality. In the Tractatus Logico-Philosophicus Wittgenstein likens it to a picture that has a form of representation, that is the logical form that has in common with the principal and that it can only show and do not represent, and form of representation, that is what the makes it different from reality. A proposition can be true or false depending on whether there is or what it represents does not exist. This feature of the proposition is also owned by the art and is precisely what makes the art of language. We judge an artistic product by how it represents the reality that circonda.Questa function of art is reversed completely during the twentieth century. On one side of the avant-garde art (especially visual artists), carried to an art that is not the man but around the world dedicated to the study of itself and its own logic. Joseph Kosuth wrote about it: "Art is the idea of \u200b\u200bart." On the other, other artists have appropriated the representative function of art made us become a simpler proposition contingent that can help us to investigate the environment around us (from this point of view, figurative poetry was taken from fringe of conceptual art called Land Art). So how propositions are divided between tautologies and contingencies as the art of the twentieth century from the point of view is divided in the same representative modo.Effettuata now a general analysis on the idea of \u200b\u200bart as a language, concentramoci more on music. L ' idea of \u200b\u200bart as representation has existed from the start in music, but from the outset in a so different from what existed in the figurative. The music, like melody, and then in its more traditional sense is tautological since the beginning, as suggested by Wittgenstein's thinking. The melody seems to think about herself, she seems to be because of the attention we place on it. But if the melody is tautological, then what about noise? The answer is this: the noise is instead more closely to a type of contingent proposition. A proposition as it requires a quota verification is not enough in itself. And just as with a contingent proposition if we are to understand its meaning, and in particular what the noise 'has caused, we must observe the world around us. From the lexical point of view is now useful to make a clarification: we will call metasuono environment that is subject to the sound and location sound as sound physical event that is caused by metasuono.
The first musical composition that has led to the idea of \u200b\u200bmusic as an empirical verification of the environment around us was 4'33 by John Cage. This work has been described by many as the more conceptual work of the composer, even if it is instead a study of the environment. With the excuse of silence, music within the whistles and grunts of the public, which lead us to discover the world around us.
Now that I've defined the music and the melody with noise quota tautological or empirical, one might ask, but then what is the role of the environment-if the music sounds that make up the leading direct our attention to the world that we surroundings? The answer is: it simply has to help us discover more about the environment that is around us. E 'useless groped to express feelings as you express the sounds with melodies as this is not their task. Attempts to do this as the actual music they are starting failed. We must instead examine, to study the noise because it is half as well as a useful fonte e un testimone preziosissimo della bellezza di ciò che ci circonda su questo pianeta.
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