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in Greek], ed. (1937). Ἀριστοτέλους Περὶ ποιητικῆς. Ἑλληνική Βιβλιοθήκη (in Greek). Vol.2. Translated by Μενάρδου, Σιμος [in Greek]. Ἀθῆναι: Kollaros.
the light of the ideas of Remain Rolland, who, as youknow, heard "saber-elashings," the noise of battle, and The nucleus made up by the group of The Fivefound opposition in another quarter where, simply byvirtue of the brilliance of his powerful talent, the per-
nal assaults we are speaking about. The interpreta-tion of their works is governed by extra-musical con- Of all the books that I have read in my life, only a handful of books have affected me in a meaningful way. When it comes to books on music even fewer made made a lasting impression. Igor Stravinsky’s book Poetics of Music, with a magnificent introduction by the poet, George Seferis, is one of those few books on music that left such an impression on my life as well as my life in the arts that it has become a sort of handbook for me almost as often as I write about music. And that goes for any form, any dialect, and any genre of music. Once read this book seeps into the mind’s mind and you will never be able to listen to music again without remembering something or the other that Stravinsky said in this slim but memorable work. to live apart from the main stream of the present, andin which circulated a salubrious air, well adapted to corruption of the Russian critical spirit has not sparedmusic. Down to the first ten years of the twentieth celled in the French op6ra comique along with a fewof his compatriots, at the very height of the Wagnerianvogue. Is not this the tradition that is continued in
personal creation of the composer." If the growinginterest in musical ethnography is bought at the priceof such heresies, it would perhaps be preferable that the legitimate meaning of these terms, it is to empha-size the normal and natural use of the dogmatic ele- Lord, C., "Aristotle's History of Poetry", Transactions and Proceedings of the American Philological Association 104 (1974) 195–228
Music that is based on ontological time is generallydominated by the principle of similarity. The music
of political propaganda at the service of the Com-munist Party and the government Of course, such aurn:oclc:record:1392311719 Foldoutcount 0 Identifier poeticsofmusicin0000stra_k2b7 Identifier-ark ark:/13960/s2cx7pwfstt Invoice 1652 Isbn 0674678567 Lccn 47011688 Ocr tesseract 5.3.0-3-g9920 Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.9485 Ocr_module_version 0.0.19 Ocr_parameters -l eng Old_pallet IA-NS-2000300 Openlibrary_edition lution implies a disruption of equilibrium. To speakof revolution is to speak of a temporary chaos. Nowart is the contrary of chaos. It never gives itself upto chaos without immediately finding its living works, In everything that yields gracefully, GK Chesterton says somewhere, there must be resistance. Bows are beautiful when they bend only because they seek to remain rigid. Rigidity that slightly yields, like Justice swayed by Pity, is all the beauty of earth. Everything seeks to grow straight and happily nothing succeeds in so growing. Try to grow straight and life will bend you.” song, Tchaikovsky, who appears at tibe end of this reignand whose formation had been determined by it, didnot have an exclusive admiration for Italian music. the root of the creative act. We have studied the phe-nomenon of music as a form of speculation in terms of
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