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SAE Magazine

existence of at least two es a reflection of the world, new information through nd therefore allows the etween the two systems. the collective conscious- ypes of ‘textual content content is actually textual er ideas / creations. It is und is translated into the must also be able to read per or a book. We need to ucture, its alphabet and its en we can interpret it cor- y. And if, therefore, we’re oceed from those two mu- /audible generators as then we know that the first hanism is based on a kind parationor‘discretion’[the t of internal reflection and , uniqueness], the other is nuous [scattered in time- e, spilled, contingent]. systems are structurally ed and self-contained, but e is constant exchange een those two different , ideas, messages and contexts; that is, of course, with the help of seman- tic translation. Any such translation, every transi- tion and every transfer by this mental matrix system implies reciprocal and unambiguous relationship between all these systems which makes mirroring one system to another – or the possibility that the text in one language is expressed also by means of another language. As time went by sound structures have become disintegration tropes, classicistic forms and tonal systems (partly staged forms and content, such as. Ballet, opera, etc.) And the collapse of the structural division between sound ideas and images in the original sound mechanism has split (resulting in new instruments, new expressive possibilities and new elements of musical expression). Many new performing arts were initiated thanks to the new internal, individual principles (which was seen as opportunity for composers to find ʻtheir styleʼ) and sooner or later came to a dead end, to a blind alley. Some, however, showed the development in structures such as dodecaphony, atonality, aleatory systems and some other new compositional techniques. ➤ INDEX ds Many new performing arts were initiated thanks to the new internal, individual principles.

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