Physical economist and statesman Lyndon LaRouche has dedicated his life to insisting that it is not enough, to merely assert that value in a successful physical economy is uniquely determined, not by monetary standards, but by the extent to which we, as individuals, and as a society, make creative leaps in our ability to master the principles governing our living, self-developing universe.
Rather, it is our sacred duty as human beings, to investigate, nurture, and master, within ourselves, i.e., within our souls, the nature of this creative capacity itself. And in order to do so, we must learn to understand, and then to speak, the language of poetry, music, and the plastic arts.
One of the most pernicious recent sins against human culture, was committed by the Romantic philosophers Immanuel Kant and G.W.F. Hegel, and their follower Friedrich Carl von Savigny, who claimed that there was an unbridgeable gap between the physical sciences (Naturwissenschaft) and the so-called liberal arts (Geisteswissenschaft). This was a direct assault against the great poet Friedrich Schiller specifically, but more generally against everything that makes mankind truly human, since their doctrine seeks to relegate art to the domain of unknowable, arbitrary emotion, guided by animal instincts―sometimes raw, other times merely modified by what they cynically term “a veneer of culture.”
As a result, today, the true languages of poetry and music, as opposed to the “Brand X” versions that are hawked in popular culture, have been all but buried under more than a century of cultural detritus.
In this class, we will use just a few examples from the domains of poetry and music, to assist you in finding your own entry-point into the beautiful, yet scarcely known, wonderfully “dynatropic” (to use Bruce Director's term) domain of Classical art. We will also touch on the principle of harmonic “well-tempering” as discovered by Johannes Kepler in the action of the Solar System, and as applied by the composer Johann Sebastian Bach, sparking a revolution in musical potential which, just as with fusion power today, is still only in its infancy.
Musical scores (in order of appearance): Schubert's setting of Goethe (sung by Michelle Fuchs), Beethoven's four-fold setting of Goethe (sung by Michelle Fuchs), Schubert's duet setting of Goethe (sung by Michelle Fuchs and John Sigerson), Schubert's setting of Schiller (sung by Frank Mathis).