JOURNAL MOUSIKOLOGIA   - PREPRINT - UPCOMING - VOLUME 20

Human or electronic Morph?

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The  paper of  Konstantinos Kakavelakis /Human or electronic Morph/ is focused  in the examination of the questioning that has been placed in early 60s
 in relation to the  interrelations and complications of musical creation, human freedom and  poetics of music. This interlacing concerned primarily many
important composers, musicologists and  philosophers of the Avantgarde era but also Th.W.Adorno. It reexamines the problem in nowadays while surfacing
new musical forms and original musical ideas and the dangerously increasing apathy in the field of how to product pure human music in comparison with
the threatening appearance of a new musical technological self-determination.  Many crucial points of this new uncontrolled  human situation had once
expressed Adorno and Franco Evangelisti through their writings after and during the period of the Darmstadt Courses in Postwar Germany.
They have characterized it as a human retreat which leads to atrophy.  The human  reflective authenticity in musical form  is being threatened since decades 
by this becoming more and more technical antipoetical absolute. It tries to replace every human  unpredictable visionary musical precedence. Via a new high violent
objectivity admiring and using the machine as the only social liaison this absolute obtain now to replace every pure human inspiration and bond to an unfair hypertechnical metamorphosis. 
While it offers a direct pseudoaisthesis of freedom  it tends  paradoxically to replace human aesthetics with enjoyable machines of higher architecture. These machines are playing
with the musical past interacting with human brains and by governing the cyberspace of a strange utopia.   While in our days this tendency invades in the musical education, especially
for the younger generations, is being created a new transient danger. A danger in which every young boy and girl through this objectification can lose progressively its recreative ability
to interpret the deeper meanings of the musical traditions of the past but also to lose the privilege to be connected in an independent way with the  reflective recreative process of the
abstract musical expressions.  From an another point of view however  this new situation calls us to reexamine and to rediscover again  forgotten human mental powers  revealing
that the deeper knowledge of universal laws is contingent on a deeper knowledge of the deeper sound of human nature and the nature of our environment.
This knowledge connect us with the ancient encyclopaedic tradition in which there was no schism between science, philosophy, music and poetry.