The musical sounds needs to please our need for unity of perception according to the principium individuationis (the principle thanks to which something exists as an unity for our perception): this is why the simple vibrations are more pleasant than the complex ones when heard alone.
The musical form is nothing more than the macro version of the same principle:
it is the long term vibration (of unity).
The sonic vibration – as a result of forces that can’t be material themselves, namely as a substance – is a transcendent expansion; although a failed attempt of infinite expansion. The sound wants to last beyond the silence:either as a sound sounding in the held note, or as a sound that remains in your memory when you hear the silence.
The form is the only place where the sound can evolve, expand and be understood in its own manifestation penetrating the memory and winning over silence.
This unity should be etablished by a macro version of that inherent and initial harmony of the natural sound.
But how to do this? This depends on how we interpretate what the “nature of the sound” in MUSICAL terms mean. Or better said: what does make the sound a musical sound?
This is a requirement to understand the musical form. But the contrary, however, is equally relvant: the musical form can determine our interpetation of what a musical sound actually is. Because only in the form the sound has meaning, and only in the meaning it is musical.
(e.Fróes, 2025)