Is there any means to distinguish language from music?
In contrast to philosophy and the sciences, which impart knowledge, the elements of art which come together for the purpose of knowledge never culminate in a decision. But is music really a non-decisive language? Of its various intentions one of the most urgent seems to be the assertion ‘This is how it is’, the decisive, even the magisterial confirmation of something that has not been explicitly stated. In the supreme moments of great music, and they are often the most violent moments – one instance is the beginning of the recapitulation in the first movement of the Ninth Symphony – this intention becomes eloquently unambiguous by virtue of the sheer power of its context. Its echo can be heard, in a parodied form, in trivial pieces of music. Musical form, the totality in which a musical context acquires authenticity, cannot really be separated from the attempt to graft the gesture of decision on to the non-decisive medium. On occasion this succeeds so well that the art stands on the brink of yielding to assault from the dominating impulse of logic.
This means that the distinction between music and language cannot be established simply by examining their particular features. It only works by considering them as totalities. Or rather, by looking at their direction, their ‘tendency’, in the sense of the ‘telos’ of music. Intentional language wants to mediate the absolute, and the absolute escapes language for every specific intention, leaves each one behind because each is limited. Music finds the absolute immediately, but at the moment of discovery it becomes obscured, just as too powerful a light dazzles the eyes, preventing them from seeing things which are perfectly visible.
Music shows a further resemblance to language in the fact that, as a medium facing shipwreck, it is sent like intentional language on an odyssey of unending mediation in order to bring the impossible back home. But its form of mediation and the mediation of intentional language unfold according to different laws: not in a system of mutually dependent meanings, but by their lethal absorption into a system of interconnections which can alone redeem the meanings it overrides in each individual instance. With music intentions are broken and scattered out of their own force and reassembled in the configuration of the Name.
In order to distinguish music from the mere succession of sensuous stimuli it has been termed a structured or meaningful totality. These terms may be acceptable in as much as nothing in music stands alone. Everything becomes what it is in memory and in expectation through its physical contiguity with its neighbour and its mental connection with what is distant from it. But the totality is different from the totality of meaning created by intentional language. Indeed it realizes itself in opposition to intentions, integrating them by the process of negating each individual, unspecifiable one. Music as a whole incorporates intentions not by diluting them into a still higher, more abstract intention, but by setting out to proclaim the non-intentioned at the moment when all intentions converge and are fused together. Thus music is almost the opposite of a meaningful totality, even when it seems to create one in contrast to mere sensuous existence. This is the source of the temptation it feels to abstain from all meaning from a sense of its own power, to act, in short, as if it were the direct expression of the Name.
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