MUSICAL ARCHETYPAL RELATIONS IN SPACE AND TIME

Abstract

C. G. Jung created the concept of archetype and considered that it is the task of the psychologist to study “the original entities†that constitute, in the most profound layers of the human psychic, the extraordinary possibility to have access to the Universal Knowledge. He named these entities “archetypesâ€. It is considered today that Jung’s discovery it is equivalent with the most revolutionary discoveries in the history of human knowledge.
Jung considered the archetypes as “preconscious structures†commune to all people, consisting together “the archaic heritage of humanityâ€.
Many disciplines have further created similar concepts of the archetype hypothesis, without making references to Jung.
The archetypal theory of C. G. Jung is fundamental being rediscovered in many other fields such as music.
The musical archetypes - or more correctly “the musical images of the archetypes†- take action inside psycho-physic objective limits; they are in the same time a sort of common denominator, a binder of the traditional elements, of “informational musical chainâ€.
The archetypes do not “evolve†but multiply, diversify, enrich their manifestation forms (the images); some of them can dominate a “specific cultural momentâ€. On the other hand we can talk about progress or regress to archetypal images with an aspect more complex or more primitive.
The musical archetypes are some times less apprehendable, even though they continue to be present over time, because the sense of the musical art makes appeal to different musical languages – sometimes having a dominant, either a playful one, or emotional one, sometimes meditative, sometimes rational or even philosophical.