The Constitution of Aesthetics, The Declaration of Genius and The Aesthetic Address

Autophysiopsychic Partnership

Yusef Lateef

Opus I

Selection I

Creative Power, Qualifications of the Genius

The artistic power was vested in Charles Parker, a genius of this century. He played alto saxophone with Jay McShan, a band from Kansas City, Mo. From 1937 to 1941. It was during this term through personal appearances and recordings, that the intellectual dimensions and multi-aesthetic properties of Parker’s music first charmed many hearts. He selected each note judiciously in order to communicate organic ideas. He legislated a lasting and lofty expertise imbued with intuition, academic and scientific comprehension. Empirically, his music is an aesthetic reality. In fact, this reality is independent of empirical investigation and no events can make it not so. It is a necessary truth.

The artistic rhythms that accompanied his spiritual enunciation were constructed of multilateral dimensions – symmetry, proportion, proportionality, balance, regularity, irregularity, uniformity, evenness, finish, congruity, consistency, dynamic symmetry, bilateral and trilateral properties.

His musical constructs served and serve as direction and inspiration to instrumentalists, composers, writers, artists, and people who are prone to cognitive thinking. His music enraptured the psyche and souls of humans on many continents through the power of its motion, electricity, systemicism, sensation, possessiveness, intellectuality, and its sympathetic and logistic wealth. The noble quality of tenderness that he projected so adeptly in his autophysiopsychic rendition of the song “Embraceable You” was and is therapeutic each time it is heard.

The music of Parker has opened vistas of endearment, ardor, attachment, friendliness, concern, desire, closeness, kindness and devotion in the presence of humans with auditory facilities. Those who were privileged to hear him in person undoubtedly reveled and basked in the ethereal atmosphere of inventive refinement.

Obviously a huge quorum of notions, keen in import, should be employed for the princely purpose of alluding to Parker’s extraordinary music. The assets of his music are composed of the aesthetic elements which are present in au great works of art. He displayed a unique volitional subsistence in his music, through which he expressed his feelings of joy and sorrow, love and temper, penitence and praise. He expresses the fathomless fascination of the soul, the instrument that lifts mind to higher regions, the gateway into the realm of imagination. He caused the heart to ride in temperature, the eye to sparkle, the pulse to beat more quickly. He caused emotions to pass through our beings like gases dissolving in solution.

The molecular formula of conventional musical symbols became aggregates of scientific and musical profundity under his scrutiny. His pen gave birth to many melodic and harmonic structures of individuality and richness. His compositions gave the world melodic and harmonic contrafactions that may be described as charismatic musical mutants.

The impingement of the sound of his saxophone upon the tympanic membrane caused one to believe Charles Parker to be a master of acoustics as well as a musical genius. When listening to Parker’s recording of “Bird Of Paradise,” one’s Eustachian tube takes pride in allowing his ambrosial cadences to flow into one’s auditory canal.

Therefore it is logical to assume that Parker’s musical mind was capable of sensing sounds, of imagining these sounds in reproductive and creative vision, of being aroused by them emotionally, of being capable of sustained thinking in terms of these experiences, and of giving some form of expression to them in musical performance and in composition.

In this objective analysis, we must keep in view the fundamental fact that Parker’s musical mind did not consist of dissected parts but an integrated personality. In our evaluation we must always have regard for this total personality as functioning in a total situation.

The psychological attributes of sound (pitch, loudness, time, and timbre),Which depend on the physical characteristics of the sound wave: frequency, amplitude, duration and form were his submissive toys. In these terms, he accounted for almost every conceivable sound in nature and art-vocal or instrumental, musical or nonmusical.

Even though sound waves were the media used to convey his music to the listener, we should realize that as in good reading material we are not aware of letters or phonetic elements as such but read for meaning; so in Parker’s music we are generally not conscious of specific tonal elements or sound waves but rather of musical design or the total impression created.

It is clear that Charles Parker had insight and knowledge of the true nature of his music, and at the same time possessed the ability to communicate his music to a vast number of human beings upon earth-perhaps beyond…

Selection I

Aesthetic address

Two score and twelve years ago the supreme creator brought forth a genius, namely, Charles Parker, dedicated to the proliferation of aesthetic experience.

He was engaged in a great aesthetic attitude, a creative perception, a unity and meaning in experience, testing whether he could conceive the beauty that exists in nature. In doing so, he enduringly dedicated his existence. He was confronted with great internal predispositions and external task – orientation. He persevered in contributing a huge portion of musical acumen, as a masterful guide for those who were to follow, so that their music might live. It was altogether honorable and noble that he did so.

But we appreciate him in a larger sense. We dedicate the name “genius” to him – we cannot ignore the aesthetic education he gave us. The great men, living and dead, who have been sustaining the aesthetic experience here, have contemplated it far above our power to disregard or detract. The world may little note nor long remember

What we emblematically state here, but it can never forget what Parker did play here, rather it is for us the living to be admiringly cognizant of his compelling music which is a living force, an organic substance nobly advanced. It is for us to be dedicated here to the great aesthetic task which remains before us – that from his cogent musical science, we take increased devotion to that which is beautiful and sublime within nature and the soul – that he will not have died in vain – that the worlds under God shall have a new birth of souls – and that the souls of the people, by love, for God, shall not abstain from love.

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