Diachronic elements by romantic spirit in Music

Konstantinos D. Kakavelakis


Could we speak today  for  a sentimentality in music which is different from the sentimentalities of modern ages ?
 Appears this change through a slow social metamorphosis and a demand for more qualitative aesthetic knowning? (I mean the supra rational knowledge which transcends the rational)
The antiromantic- antimythical postwar musical  style of departure and its failure to confine and relocate (reestimate) an  ideal  topos of redemption has not destroyed
the value of incarnation as an imaginative intuition. The theory of the expanding and coincidence  universe  makes the growing distances of 20th century music
through methodic artificial metamorphoses of feeling as a reason for Rebirth of Romantic aspiration. The necessity of Unity becomes more desperate.
Feeling tones of inner atmospheres draw the correlation between inner sounds and the issues of life. From the other side the  musical technological evolution
in nowadays consists precisely its potential to expand the challenge of efficiency which arise in connection with the struggle for ascedancy over man´s physical environment.
The rationalization of this struggle also in music is presented today as unavoidable condition for the survival of human  affection in many music cultures. 
 We will never reach to save our affections (a synthesis of psyhic statements) if we are not able to rediscover our natural polar coordinates.
We raise the siege of our previous situation through this action to reach a new perspective. A perspective which permit us to regain the lost path of communication with nature  in a formless course of time.