One of the most important factors in composing n piece of music is the balance between the use of intellect and the use of intuition. If the composer is over-conscious of what be is doing or constructs too much from theoretical principles, relying on an abstract justification rather than his ear, the music becomes stiff, awkward and finally proportionless. The intuition, on the other hand, needs support, a framework against which to project new material, if it is not to lose direction and purpose as it becomes incapable of controlling all the variables at once. Intellect and intuition continually interact. On the one hand the intuition throws up ideas that are formalised by the intellect (to be quickly forgotten after use or kept as a permanent technical principle) and on the other the intellect continually challenges the intuition with frames, goals and rules. These may eventually be broken or twisted as the intuition senses a. deeper logic (indeed the idea of intuition as a perceiver of deeper-logic is an attractive one) but this perception could not be made without the focusing of a framework. The relationship is complex. One can intuitively perceive a framework as one can intellectually construct any moment to moment sequence. T~ere is a continuum between the two; they are inseparable and constantly overlapping. Things might become half-conscious - to sink again, or after several similar events, emerge as a principle.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:600907 |
| Date | January 1979 |
| Creators | Wiegold, Peter |
| Publisher | Durham University |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://etheses.dur.ac.uk/10192/ |
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