Rameau

This morning I was checking my YouTube video of my DIY Italian style harpsichord to see how often it’s been viewed.  A Deremigis  search usually brings it up along with an increasing number of  files containing De Remigis’s I didn’t know existed before the invasion of  mass marketing computer search engines. But today as I mindlessly ploughed through those files “to the bitter end” I discovered an Amazon file without De Remigis/ deremigis//Deremigis. I believe I saw the name Rameau in it and guessed it might have something to do with my having purchased an edition of Rameau’s harpsichord works; my guess was right. But when I opened the file I saw that what triggered it was a three star review that I had given, not of the works but for the sparseness of ornaments in this transcription which probably made the works easier to play than those in my disintegrating tiny edition which I think I bought because I’d heard about Rameau’s importance as a theorist. Musically I had assumed Bach had been the greatest composer of both keyboard and orchestral works. But for some reason I kept trying to perform the Rameau highly ornamented pieces in my 6.5 inch/16.5 centimeter high little edition from which I learned that Rameau could do what no other old European musician could do; unlike Bach, Handel, or Mozart which is to never write anything musically awkward or disturbing, for to me all of Rameau’s works seem musical without fail. Perhap’s this musicality is a result of the harmonic beauty resulting from his theoretic understanding of harmony, or simply the climax of French art.

Science and Allegory

All science is communicated by comparison more abstract than, but similar to The Divine Comedy’s use of recorded actions of people or places of the real word to depict events and characters’ in the other world.

Not being a scientist today’s mention of scientific discovery has begun to irk me. And much of what we hear about science is voiced by people who like me are not scientists. A distinction between science and engineering  raised  by a lecturer of a course I withdrew from  has stayed with me. For despite my Latin dictionary’s definition of “scientia” as knowledge and skill I’ve always understood its descendent “science” to imply knowledge.  Skill results from repeatedly performing mechanical actions that follow directions for how to do things. According to an ancient anecdote one need not be able to play a musical instrument to have knowledge of music.

All science is communicated by comparison more abstract than, but similar to The Divine Comedy’s   use of recorded actions of people or places of the real world to depict events and characters’ in the other world. Suffering in hell resembles, from line 109 of Canto 9 of the “Inferno”, images of the Alyscamps tombs near Arles  in France. Science tells us of the similarity of letters of the alphabet and numbers. What is “x”? It is like some number. What is a foot ? It is like a shoe. What is a centimeter it is like the number 10, one tenth of a meter stick. If one is six feet tall one is the length of six shoes. If one is 2 meters tall one is 200 tenths of 2 metre sticks.  What time is it? It is noon or it is lunch time or the sun is at the zenith; both hands of my clock are as one at its circlular face’s top. What knowledge is gained in these comparisons between lengths in  feet or metre’s and temporal duration in  space? The ability to organize experience to do things and acquire skills so that I can do these things faster and better than anyone else;  so that I can get power and money.