Musical Geometry
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Musical Geometry

A symphony is a combination of separate songs all in complete agreement. For example 35. A certain symphony can be, for example, 35 separate songs, all being performed at once and in complete agreement. Actually, this is almost unwittingly being done in the popular music schemata, with it's arrogant and presumptive deference to genre in music. In most given genre it's usually one basic composition redone with enough uniqueness and difference from the parent to avoid copyright infringement. In this case the compositions are done by the same composer or collaboration so they can concur.

Therefore, the concept of harmony, right now, as far as music has by and large gotten in the early 21st century, is an illusion. Some people think that certain musical elements can be used to harmonize. However, harmony takes a little more depth and profundity than what is offered today in today's symphonic efforts.

There is a geometry in music -- a musical architecture -- that involves the simultaneity of a large symphonic chord being struck at once in either fractional, whole or sustained notation and extended into the composition by the multiplicity of chordantation. Rachmoninov and Pierre LeGrande were beginning to get the gist of this as well as certain synthesizer musicians and composers such as Kitaro in his "Silk Road" -- at least certain aspects of it. Debussy and Ravel were beginning to understand the importance of sequential notes at frequent octaval separation as a staccato edifice in front of a background of sustained notation.

Often a grasp of the geometry of sound and music enables the aesthetics of the individual instrument to come to the fore such as the brass or woodwinds. So ultimately it is the architecture of the sound that takes the symphony beyond the stereotypes of academic exercises in harmonization into the true harmony of separate works blending simultaneously to make the true symphonization. Ives began to toy with the idea but became preoccupied with the discordant blend of disparate compositions that did not symphonize with each other, the result being sort of dreamy and fascinating to the listener, but not the profundity needed to truly move people.