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The post-transitional ear

August 31st, 2010 · No Comments

The Post-Modern Ear
By Roger Scruton

This article is interesting, although I don’t buy the title’s use of ‘post-modern’.
But the mystery of modern music resists easy analysis.
I recommend a look at the eonic effect, and its clear demonstration that classical music shows strong correlation with the ‘modern transition’, 1500 to 1800+ , promptly tapering off within a century thereafter. Note the climax near the ‘great divide’, plus/minus a generation around 1800. The pattern is clearly non-random, and makes sense in the context of the eonic effect.

Most students will resist the idea but the evidence is overwhelming that classical musis is an ‘eonic effect’, with an exact correlation to the eonic sequence. It is almost spooky. That the classical tradition would seem to peter out as if exhausted, while I cannot reject the idea out of hand, seems contrary to what happened, which is that as soon as the eonic ‘determination’ factor waned and fell away musicians began to deviate in their creativity.

That may be wrong, but it is clear that the climactic phase of the great rush of classical music from Monteverdi to the Mozart/Beethoven peak, and then the brief continuation into the century beyond (to the time of Wagner and/or Puccini, say) is something deeper than individual genius: it is stimulated by the historical matrix/force of the eonic sequence.

That doesn’t really answer the question of atonal music, and the reason for its sudden appearance at the exact point of the eonic fall off. It merely shows the exact correlation.

Time to study the eonic effect, which is full of these correlations. The world is a lot stranger than you suspect, mon ami (or ‘mon vieux’, or ‘mon semblable, mon frere’, or, well, it gets bad from here on)

The material in WHEE on this will appear soon in the fourth edition version.

Tags: The Eonic Effect

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