The Renaissance had modal counterpoint, with its abstract geometries that tended towards the sky... the Baroque had the meeting-clash between counterpoint and tonality, with its intent to pacify the mind and heart in the ecstasy of the sublimity of physics that becomes beauty.
Then romanticism and its longing for love and death, which will soon give rise to the chromatic yearning aimed at overcoming the tonal cage, projected towards a renewed encounter between matter and spirit.
And meanwhile the chthonic telluric force of jazz, the black matter dense with animism and primitive power which - mixed with the industrial revolution - will produce that rock so full of the anguish of a world less and less on a human scale.
And now, ladies and gentlemen, the last act is on stage: the obscene cretinism of an oversimplification by drunken monkeys, full of vulgarity, banality, sex and filth.
A few, abject notes oligophrenically repeated in a jungle of tattoos and displayed navels, nail polish and hysterical consumerism.
Only the penultimate piece of music awaits us, the sound of the exploding bomb.
Then silence. Absolute. Eternal
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