The Musical Cannon and the Intentional Fallacy
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According to Time
"The Musical Cannon and the Intentional Fallacy"
by Ben Bussewitz
updated and provided for the public eye 18 July 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.
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. 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 ones 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. They are inspired to dance and sing and they do it the most well. The Spirit of Music abides in all. Everyone enjoys the song.
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, greated, such great, amazing music and stunned and brought to their dancing rhythms of wildest enhancements 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, 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?
I see I am one of the all who she 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 its good 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.
This is great; this is great understanding for you.
And we see, as this music of her 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 the line breaks, perhaps the same words she sings but maybe some a bit slightly different with more in the expressiveness that the written word brings and how it enhances the understanding of what the song means without the musical composition along that provides more understanding.. if she chooses to do that, the lyrics can instead be seen as poetry, and: we could study her 'poetry as music' in all our graduate English classes and undergraduate English classes and above that. I give her freedom to use the idea, which I came to myself and is a brilliant idea: write music that is both a song that has lyrics, and also has a poem that contains the string of words that most resembles the lyrics to the song, written by the artist that wrote the musical composition.
To read some of these musical compositions that also have corresponding poems, direct yourself to www.hearyemullsaythezine.blogspot.com and enjoy the music and the poetry to see how good this idea can be accomplished and already has been with 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 am the biggest master of the universe.
The reason the intentional fallacy is central to understanding music in modern times best in regards to literary criticism is because often the enjoyers of certain musical artists look into the lives of those artists in ways that informs their appreciation of their music when listened to. However, the 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. The interpretation of the song, then, is independent of the artist and the artist's intentions for the interpretation, even though it came from the artist with artistic technique and artistic mastery. Yet, the song lives in and of itself, apart from the musical artist who brought it about, and the interpretation, meaning, and understanding of the song must be directly applied from the song in and of itself. To apply the artist 'intention' is a interpretive 'fallacy.' Such, it is the 'intentional fallacy.' And as such, a songs interpretation would be inaccurate if either the artist's background specifically or the artist's interpretation for the song are brought to the song. This would be a fallacy according to the laws of literary theory. It is a fallacious interpretation that is explained as such through a paradigm of literary criticism called the intentional fallacy. 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.
For more on 'Poetry as Music' check out this cool link of mine: https://hearyemullsaythezine.blogspot.com/
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