updated 15 September 2025: The Musical Cannon and the Intentional Fallacy
The Fig Tree Flag
of World Peace.
by Ben Bussewitz
first posted in the non-public domain
updated and provided for the public eye 18 July 2025
updated again 15 September 2025
The masters of the universe have always been the top coterie
of professional and famous musicians. Their waves of vibration stir up
and rise up within the engager of the artwork the evocative tonalities and
sonic timbre, tone, and rhythms of the various primordial, elemental levels of
the immaterial spirit, which is the Spirit of Music aloud in their ways and in
their hearts.
The immaterial spirit, the primordial spirit, lives in us
but is not a part of us. This is a miracle of he who is who is, this
great spirit, the primordial spirit. Thus, he brings upon us engendering
of our actions and incites and excites our best thoughts. Especially by
the waves of the music the musician produces, with great strain and glaring
inertia and momentum, with beautiful waves and ceaseless words and glimmering
expressions.
..
Not all this top echelon of a coterie understands this,
however the way in which it understands these people is that he who is which
is, the primordial, elemental spirit: he looks on all the good musicians
fondly.
..
The way in that he stirs up them and sometimes even controls
the listeners to music, well they have seen some concerts and been in some
music halls before. The onlookers of the great spectacle, the great
artworks being spun in clay beyond and to their heads, minds, and souls, it
rises them up in wildest, spectacular applause. Moreover, inspired to
dance and sing and they do it the most well. The Spirit of Music abides
in all. Everyone enjoys Mother Earth's songs that hum and rattle and
shine and progress and fill up with gentle caresses and happinesses and
beautiful times and heartfelt looks and deeds, in the spirit of the music, in
the brimming and endless centuries.
Ω
Well, I see that the primordial spirit has been ravaging up
some great looks of onlooking awe and awe-inspiring appreciation of who I see
to be one of the highest in caliber, greatest in merit, most noble and
well-seen and well-received artist of our time, or, really, any time in human
history— Taylor Swift.
..
Wow, she is so stunning. How has she created, in
greatness, such great, amazing music and stunned, amazed, betwixt’d in
bedazzling amazements and spectacular onslaughts of melodic, beautiful,
mesmerizing, and entropy heightening to way up above the clouds where the
sunshine hits, and brought to their dancing rhythms of wildest enhancements and
most inspirational and awe-inspiring and beautiful enchantments, their happiest
singing and loudest cheers and most appreciative clapping... well, I guess one
can say it is talent and greatness, but I see it is more than that... you could
say, her mystic, and her mystery, and her.. her secret.
This is how we can see it, we the human family, because, we
could all ask ourselves, how has she created such awe amongst us in the noble
crags and wild heights of who we are, from the steadfast sailor and reaper to
the moving love of the show-business first-rate films, to the beauty of our
television sets and plush-filled magazines to our time where we sit in great
inspiration, insights and awesomeness of that who is the star?
Ω
I see I am one of the all who Swift has completely
controlled indirectly by means of the primordial spirit of musichood. I
see it is such a good way of enlivening my jovial and happy enjoyment of her
quite amazingly, to say the least, and all canonically-revered and respected in
terms of great artwork that is always remembered and loved for all of time,
this music of her in which I see she presents her mystique in a way, well, I
see, I see she does completely transparently and also totally unique (as she is
created to be totally and completely original; she is less than one in a
billion; she is the only one completely or in any way totally herself), but, I
guess no one else quite does, for some reason it seems, understand what Swift's
mystery and mystique and the awe they share as they encounter totally means,
other than me. I know the hurricane is good when it meets the land, for
those who come across it.
The immaterial spirit is made God, controlled by God,
and of God. It is for all people. And, I reflect in great joy and
happiness of all the times I've danced along in my somber, splendid, really,
quite beautiful apartments, to the music of Swift's that I love.
Ω
This is great; this is great understanding for you.
Ω
And we see, as this music of Swift’s is canonically-revered
and great, which she dons such a great and splendid part of: if she ever
chooses to express the beautiful, expressive, and sweet lyrics we cherish and
write the song out with line breaks, perhaps the same words she sings but maybe
some a bit slightly different with more in the expressiveness and precision
that the written word brings and how it enhances the understanding of what the
song means without the musical composition along that provides that means of analytical
modality in comprehension.. if she chooses to do that, the lyrics can be seen
as poetry, and: we could study Swift’s ‘Music as Poetry’ in all our
graduate English classes and undergraduate English classes and above that.
I give her freedom to use this idea to express the lyrics in
the written form of poetry, which I came to myself and is a brilliant idea.
To read some of my musical compositions that also have
corresponding poems, direct yourself to one of my websites: www.hearyemullsaythezine.blogspot.com and
enjoy the music and the poetry that I have put forth, myself, ben bussewitz, in
order to see how good this idea can be accomplished and already has been by me,
and in that high order, with and upon to great success.
The
term 'masters of the universe,' illustrates exactly that of which it means, in
terms of the evocative and representational qualities of that which it
indicates.
I, ben
bussewitz, am the biggest master of the universe.
∞
ΩΩΩ
∞
The reason the intentional fallacy is central to
understanding music in the present-day in regards to literary criticism and art
interpretation is because often the enjoyers of certain musical artists look
into the lives of the musical artists— the backgrounds, histories,
personalities, so on— in ways that may or may not enhance their appreciation of
their music at the times they listen to it. Although knowledge and understanding of the
musical artist provides a potential window into how the artwork can be
perceived, the artwork is self-containing and self-reflective, living in the
world aside from and in all-in-all isolation from the person or persons who
composed it and brought it to exist in the world alongside the people of the
earth. Musical artists put an artwork in
the world that does not bring along with it the artists intentions for
it. It is totally self-enclosed artwork that is enabled to open itself up
for one's happiness and love of the song The song itself shows nothing of
the artist's hopes for it, even the artist's hopes for how it would be
interpreted. In fact, like a monumental,
living ancient ruin, even our contemporary pop music shows nothing of who made
it other than that is has a maker and that is all that is relevant to the
creation of the maker, the song of the musician.
Ω
The interpretation of the song, then, once it is a finished
artwork in the world’s eye and the world’s belonging, is independent of the
artist and the artist's intentions for the interpretation, even though it had been
created by the artist with artistic technique, artistic style, artistic caliber,
and artistic mastery.
Hence, and yet, and on and on and along: the song lives in and of
itself, apart from the musical artist who brought it about, and therefore,
interpretation, meaning, and understanding of the song must be directly applied
from the song in and of itself. It has
artistic and literary dimensions and finesse and perfections; it has beautiful sublimity
and noble craftsmanship and heartfelt reasons that it exudes for its beauty and
fondnesses.
To apply the artist 'intention' in our interpretation of any
kind of artwork can be recognized as an interpretive 'fallacy.' Such, we
shall see here, ‘the intentional
fallacy.' And as such, a songs interpretation would be inaccurate if information
of the artist is brought to the act of interpretation for the song. This
would be a fallacy according to the laws of literary theory in art criticism, art
exegesis, and art analytical processes of interpretation; it would be a
fallacious interpretation.
The proper interpretations do not take into consideration
what they know about or have heard about from the musical artist. The
only look at the artwork that the artist puts in the world and is complete and
coherent unto itself.
We are looking forward to studying musical compositions as
poetry and song in our English classes of the Ivory Tower. In this wonderful time we spend together
sharing some of Western music’s finest frames of film parchments and Eastern
songs and dancing rhythms, we can study the elements of technique and
composition in music to speak intellectually about the musical timbre and
overall composition in the act of applying the artistic mastery of craftmanship
to the musical medium and how this musical application of composition qualities
informs our understanding of the way the lyrics live on the page of the song’s
poem.
- ben bussewitz
For more on 'Poetry as Music' check out this cool link of mine: https://hearyemullsaythezine.blogspot.com/
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