By Zaitsev Rogdai Olegovich
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Extra resources for Introduction to Modern Statistical Physics: A set of lectures
Example text
L But there is still another, a most unusual example, now taken from plastic art, that presents the ideal outline of tonal ellipsis. Alfeo Faggi, an American of old Florentine lineage and one of the greatest sculptors of our time, has created for the chapel of Chicago University bronze doors whose style is our day's metamorphosis of the great Ghiberti manner. I mean, of course the Baptistery opposite the cathedral of Santa Maria del Fiore, or the Duomo, in Florence. Formally, Faggi's Saint Francis is nothing less than a strictly musical mould known as the rondo of the third form, mathematically expressed as A + B + A + C + A, where A is the thrice quoted main subject.
When the ancient Greek mind, designing its quadrivium of sciences decreed for a thinker, placed music next to mathematics,! it was prompted by a deeper thought than the Greeks were aware of. But we see, there is still another sister: logic. Kinship of the three lies in the essential instrumentality common to members of this, my own trivium. The instrumentality native to logic, mathematics and music dwells in their vision of the immense film of the feasible. An imaginary number, y-1, for example, is not a sense datum, nor trait of an object, but a tangent or mode of a feasible variation in an existing thing: a twist of relational logic.
32 Physics and Metaphysics of Music Our B and C of the rondo form, the second and fourth panels (young Francesco Bernardone on horseback starting on his path of humility and haranguing the heavy-minded, resisting peasants) are transitional elements of accentuated movement which counterbalance the peace and transparence of the main subject. The five monks over the tomb of Saint Frances form the coda of this extroardinary rondo. Its crispness, grace, telling silences -are a marvel of our day's art.