art of the fugue

everyday I try to play the first prelude of JS Bach’s well tempered clavier and everyday I realise something new – about sound, or about the score, or about the geometry, the nature of music, scale… or about my own cognitive processes. the experience of learning to play a piano via this piece of music is subtly synaesthetic and for the most part beyond realms of my current vocabulary. sometimes I experience it through the visceral action of the fingers, sometimes through the geometry of the scale, sometimes the phrases I have in the mnemonic model in my mind, sometimes through the codes of the labelled notes, sometimes through the colours of groups of notes, and sometimes I completely forget how to play it. the complex neuro-physical experience of learning itself adds a whole other dimension to the fugue.

fugue visions:

artists, from left to right:
top: the art and science collaboration the fugue project, escher, frantisek kupka, vasily kandinsky
middle: frantisek kupka, paul klee, julie gross
bottom: louise bourgious, terry seaman, victor vasarely

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