Tuning the Mind for the Music of Classical Poetry

by John Sigerson
March 18, 2017

In his 2000 essay “Politics as Art,” Lyndon LaRouche wrote that “The object of the leading personalities of society, must ... be to awaken and to address those cognitive qualities of the individual mind, in which the passion required to induce cognitive solutions to paradoxes is aroused by musicality.” In this sixth class of a series, Schiller Institute National Music Director John Sigerson helps the audience to distinguish between the musical characteristics of true Classical Poetry, and those of “Brand X” representations. Included are disucsions of J.S. Bach’s well-tempered tuning versus other tempering systems; the problems great singers have had to confront because of the artificially high tuning; and the Classical, thorough-composed art-song as the “Rosetta Stone” for communication of higher-order thought-objects.

1.

Caruso Celeste Aida: 1908 Big passing on Fa, but not second time!

2.

Caruso Celeste Aida: 1902

3.

Caruso Celeste Aida: 1911 Quasi Passing on the Fa

4.

Caruso Celeste Aida: 1921 Passing on Fa except on "Tu sei"

5.

Richard Tucker with Toscanini 1949: Central on Fa except on pensiero and tu sei