Gruupi wrote:Organic to me seems to mean just the opposite of control. I'm not buying organic growth having much to do with tightly controlled development.
Think of organic in the light of the way a foetus develops, one cell dividing into two and two into four and so on. This is, in fact, how organisms develop and possess form, unity and integrity. Form, unity and integrity have been goals of artists down the centuries, aspirations of artistic creators for hundreds if not thousands of years.
The reason my comments remind you of your architecture professors is because the two disciplines, music and architecture have, in the history of the West at least, gone hand in hand in both technical approach and aesthetic development. Haven't you ever noticed that the names of architectural periods or styles are exactly
the same as those of musical periods and their concomitant styles? Study any great work, particularly from within the common practice era (and countless numbers from without), and you will discover that motivic development - the principal of controlled organic growth and the transformation of motifs over the course of a piece - is absolutely fundamental
to composition. The idea is that nothing is wasted in the process, instead the (hopefully inspired) material is viewed and developed in different ways and from different angles as the music progresses. This gives form and unity.
As practical examples (there are literally countless numbers of them) I would recommend that you listen to and study the 7th symphony of Jean Sibelius or, much more famously (and, in every sense, obviously) the opening movement of the 5th symphony of Beethoven.
''Architecture is frozen music.”
― Johann Wolfgang von Goethe.
''Music and architecture blossom on the same stem: sublimated mathematics. Mathematics as
presented by geometry.''
- Frank Lloyd Wright