occur in the history of culture names which are, initially confined to a narrow circle of experts, occurs in the course of time such as real masters of thought. This is the case of an author like Marius Schneider, a character of such importance that they can do well next to famous intellectuals of the twentieth century such as Carl Gustav Jung and Henry Corbin (choose these examples to some similarities with ours, although the originality of each research, as we shall see below).
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Hagenau Marius Schneider was born in Alsace in 1903, its formation across several disciplines (philology, musicology, piano, composition) and takes place in various cities (Strasbourg, Paris, Berlin). It begins in Berlin that strange long comparative research between the non-European and European polyphony, the fruits will be! collected in a monumental History of polyphony, published in Berlin in 1934. In 1933 he assumed the leadership of "Phonogramm-archiv", agreeing to live with the Hitler regime until 1944, when it moves away from Germany to repair in Spain. During this period, among other things, Schneider studies the symbol of the swastika, but, like René Guénon, in a sense very different from the Nazis. In Barcelona, \u200b\u200bin the ethnomusicological Institute of Musicology, undertakes a massive investigation into the symbolism of ancient cultures music is more than that of primitive music, leading to the publication of two important works: The symbolic animals and their origins in mythology and in music and dance of ancient sculpture swords and the tarantella. His academic career is held later in the University of Cologne (1955-1968) and Amsterdam (1968-1970), in this period as well as numerous essays and encic! lopedie publish his work, perhaps the most famous stones that sing. In the last period of his life (he died in Marquarstein in Bavaria in 1982) published several articles in the journal of Elémire Zolla "Knowledge Religious. " Extrapolate from his encyclopedic work two central themes, which we do not feel adequately recognized originality: primitivism and the symbol of sound.
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Primitivism
In our opinion, even those authors who have contributed most to the knowledge and reputation of Schneider (Zolla, for example) have not sufficiently emphasized the profound difference that our sound track between cultures (but the findings apply to cultures tout-court) so-called "primitive" and so-called "high". It is true that Schneider is part of a dense array of Critics of Western culture, particularly its most modern and post-Enlightenment, but traces the roots of this form of thought much further back in time than do some well-known authors, especially esoteric or historians of science as Guénon as Giorgio De Santillana. If, as Zolla writes in the preface to The Meaning of music (the first collection of writings published in Italy Schneider), ie! Schneider studies help to reconstruct the Neolithic civilization, based on a kind of Pythagorean science, that our calls "megalithic tradition", it seems equally true that the age of human history is not considered age gold. In fact, to Schneider, whose sympathies are explicitly for authors "irrationalistic" as Ludwig Klages and Henry Bergson, the high cultures are those in which there has been a thought protorazionalista, in which the fundamental rhythms of man and the universe are not been more directly experienced, but, though cleverly calculated and spatially represented. Through a comparison between the ways of thinking and practice their music, Schneider goes back to different forms of the underlying philosophy of nature: for primitive cultures is essential to sense movement in the forms and the fluctuating nature of the phenomena, while the high civilization prefer 'appearance statico delle forme e il profilo puro e strettamente geometrico; nel primo caso siamo di fronte a una concezione realistica, artistica e intuitiva, nell’altro caso siamo di fronte a una concezione geometrica, scientifica e astratta. Schneider analizza con finezza il trapasso dalla prima alla seconda concezione, senza scorgervi alcun segno di “progresso” anzi, al pari di un poeta ed “ecologo profondo” contemporaneo come Gary Snyder, sembra credere che con il neolitico cominci la decadenza. Non solo, ma la dicotomia tra culture primitive e alte culture (o, se si vuole,! alla Lévi-Strauss, fra “primitivi” e “civilizzati”) viene a superare l’accezione di semplici età della storia to expand to that of human ways of understanding man's relationship with the world, and with nature in particular. In this sense, the adjective "primitive" is to mean, after all, neither more nor less than what would be "natural" to our species. If this is true, the fundamental task is not so much to seek, through myths, traces of an ancient tradition (continuous or otherwise), how to identify their symbols in the figures related to the anthropological minds. Here we see the confluence of the search for Marius Schneider as with those of Carl Gustav Jung, who in his analytical psychology places the existence of archetypes universal collective unconscious, as with those of Henry Corbin, who first outlined a theory of 'Immaginale "mesocosm intermediate between sensible and intelligible, where g! spirits and bodies are spiritualized take shape. But here we are the second main theme of Schneider, which we mentioned at the beginning: the symbol of sound.
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Symbol sound
The originality of the thought of Schneider stated fully the concept of "sound symbol". For Our ideas and different things, meeting, thanks to a common rhythm, have come to form our set semiconscious che è linguisticamente inesprimibile, ma caratteristico dell’esperienza simbolica. Pur non avendo un significato concettuale, tale insieme possiede un senso espresso dal ritmo che li riunisce e che la musica può riprodurre più di ogni altro linguaggio, perché la manifestazione più alta e essenziale del ritmo è il ritmo sonoro. Se ciò evidentemente già supera ogni idea di simbolismo musicale che la storia della musica occidentale conosca (per lo più nient’altro che immagini trasferite sul piano acustico), Schneider vi aggiunge quella differenza che gli sta a cuore tra cultura primitiva e alta cultura. Così, in evidente consonanza con le nozioni junghiane di “simbolo vivo! ” e “simbolo morto”, distinguishes the pace-symbol of primitive man, as seen fleetingly and rhythm expressed by a living symbol (which he called "call-sign") from the symbol-rate man of high culture that portrays him as a dead object, carved in stone, and that, despite fake a pace of life, is in fact an inanimate object. Once again, at a rate directly experienced with his own body opposes a timetable to be established in space, even materialized in the stone. As Schneider says, instead of acting in nature, it is placed in front of it, instead of singing, shouting or issue-symbols, we make tools or ornaments, shapes of animals to make music. Not only that, but, like Carl Gustav Jung per il quale il simbolo getta un ponte tra l’io cosciente e l’inconscio, per Marius Schneider il simbolo sonoro getta un ponte fra un mondo primordiale puramente acustico e subcosciente e un mondo materiale perfettamente conscio. In altri termini, al simbolo sonoro viene a corrispondere il mondo semicosciente del suono luminoso (è evidente qui la coincidenza di tale regno intermedio con ciò che Henry Corbin ha chiamato l’”Immaginale”), che funge da mediatore tra il cielo e la terra e che ha il compito, attraverso il rituale, di far risuonare il ritmo del tempo primordiale sino ai confini della visibilità, risvegliando nelle figure materiali della terra la coscienza della loro originaria sostanza acustica. In so doing, the ritual imbued with the divine that is earthly and spiritual matters that is only physiological acoustics, and at the same time makes it true is false and false! I know the truth, distorting all knowledge based on the principle of non-contradiction, for which a thing is only this and nothing else. Here is a decisive and final touches: for a Schneider music "natural" (as well as any activity "natural") is not a reflection of the order of things fixed once and for all and encoded by a Science (either ancient or modern ), but rather a ritual that "leads" that is material to that which is intangible, and finally in a place that is neither material nor immaterial, but always available to human consciousness: the Self or the bottom of the Soul.
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readings in Italian of Marius Schneider
- The meaning of music, Rusconi, Milano 1970;
- The symbolic animals and background music in mythology and in ancient sculpture (or. 1946) , Rusconi, Milano 1986;
- The primitive music (or. 1960), Adelphi Edizioni, Milan 1992;
- The dance of swords and the tarantella (or. 1948), Argo, Lecce 1999;
- The nozione del tempo nella filosofia e nella mitologia vedica, in Ecologia della musica (a cura di Antonello Colimberti), Donzelli Editore, Roma 2004;
- Pietre che cantano, Guanda, Milano 1980;
- La musica primitiva, in Storia della musica, vol. I/Musica antica e orientale (a cura di Egon Wellesz), Feltrinelli Editore, Milano 1962;
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Molti saggi di Marius Schneider sono stati inoltre tradotti e pubblicati sulla rivista “Conoscenza Religiosa” (1969-1982) diretta da Elémire Zolla.
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fonte: www.gianfrancobertagni.it
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