{"id":23202,"date":"2018-09-07T00:00:00","date_gmt":"2018-09-06T22:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2018\/09\/07\/la-musique-du-cosmos\/"},"modified":"2024-08-16T11:27:23","modified_gmt":"2024-08-16T09:27:23","slug":"la-musique-du-cosmos","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/it\/critiques\/livres-et-partitions\/2018\/09\/la-musique-du-cosmos","title":{"rendered":"Musica dal cosmo"},"content":{"rendered":"<figure style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/CosmosUzan.jpg\" alt=\"\" width=\"554\" height=\"396\" \/><figcaption class=\"wp-caption-text\">Dettaglio della copertina del libro<\/figcaption><\/figure>\n<div class=\"text-section\">\n<p>L'astronomia e la musica, entrambe discipline del quadrivium, hanno continuato a vivere fianco a fianco fino ai giorni nostri, la prima ispirando numerosi compositori, soprattutto negli ultimi cento anni, da Holst a Fabien Waksman, senza dimenticare Connesson, Grisey, Messiaen, Stockhausen, Takemitsu e Var\u00e8se, solo per citarne alcuni. L'astrofisico Jean-Philippe Uzan, scienziato di prim'ordine molto impegnato nella divulgazione del sapere e spesso collaboratore di artisti, esplora le traiettorie intersecanti di Euterpe e Uranie ricordando ai neofiti le nozioni fondamentali del pensiero scientifico. Dai tempi in cui bastava un'analogia, un'ipotesi ingegnosa o la fede in una teoria, fino ai giorni nostri, che hanno visto uno spettacolare miglioramento degli strumenti di misura e di esplorazione, l'autore ci presenta con passione e concisione alcune tappe fondamentali di una lunga storia, e ci permette di assistere ai dibattiti tra idealismo ed empirismo, prima che venisse riconosciuta la complementariet\u00e0 tra teoria ed esperimento, e alle discussioni su concetti come l'armonia del mondo o il presunto canto dei pianeti. Tra i numerosi personaggi che compaiono in questo libro vi sono il compositore e astronomo William Herschel, che scopr\u00ec Urano e, studiando i raggi solari, la radiazione infrarossa. Vengono trattati diversi fenomeni, dal big bang alle pulsar, dalle onde gravitazionali alle vibrazioni sulla superficie del sole. Inoltre, se tutto, dall'atomo alle galassie, \u00e8 vibrazione, come possiamo sentire i suoni dell'Universo se non possono propagarsi nel vuoto? Poich\u00e9 un suono pu\u00f2 viaggiare in una forma fisica diversa da quella in cui viene emesso e percepito (come nelle trasmissioni radiotelevisive), possiamo ascoltare i fenomeni cosmici utilizzando le onde luminose, trasponendole per portarle entro i limiti della percezione umana.<\/p>\n<p>Da dove provengono le onde sonore delle stelle? Possiamo ascoltare l'Universo primordiale? Come pu\u00f2 la meccanica quantistica portarci a considerare ogni atomo come una sorta di strumento musicale? Come pu\u00f2 il suono aiutare gli astronomi a vedere meglio? Molte altre domande sono affrontate in modo accessibile ai non addetti ai lavori (a parte qualche nota a pi\u00e8 di pagina, non ci sono equazioni). Da segnalare anche le tre importanti appendici dedicate alle varie divisioni della scala, alla geometria musicale e all'uso del caso nella composizione.<\/p>\n<p>Come l'astronomia o la fisica, anche la musicologia e la storia sono scienze che richiedono precisione e rigore nel trattamento dei dati; \u00e8 quindi opportuno segnalare alcune (fortunatamente rare) imprecisioni, soprattutto in campo musicale (dove alcuni termini sono stati storpiati), che si sarebbero potute evitare con un'attenta verifica: Filolao, nato dopo la morte di Pitagora, non pu\u00f2 essere definito allievo di quest'ultimo (p.14), ma al massimo suo discepolo; Hrotsvita di Gandersheim \u00e8 s\u00ec una canonichessa, ma non una sacerdotessa (probabilmente confusa con una poetessa) (p.50); Sibelius \u00e8 scritto senza essere stato scritto, ma senza che sia stato scritto il suo nome.), ma al massimo suo discepolo; Hrotsvita di Gandersheim \u00e8 s\u00ec una canonichessa, ma non una sacerdotessa (probabilmente confusa con una poetessa) (p.50); Sibelius si scrive senza accento sulla e (p.78); il padre di Herschel non suonava il \"fagot\", grafia errata dell'equivalente tedesco del fagotto, ma l'oboe (p.113), ecc. Questi errori non sminuiscono in alcun modo l'interesse di questo libro e il piacere della scoperta a cui ci invita.<\/p>\n<\/div>\n<div class=\"text-section\">\n<dl class=\"picture media photo\">\n<dt><img decoding=\"async\" class=\"media photo aligncenter\" src=\"https:\/\/www.revuemusicale.ch\/wp-content\/uploads\/2023\/01\/09_crit_buch_Cosmos.jpg\" alt=\"Image \" \/><\/dt>\n<\/dl>\n<\/div>\n<div class=\"text-section\">\n<p><em>Jean-Philippe Uzan: L'Harmonie secr\u00e8te de l'Univers, 192 p., \u20ac 20,00, Editions la ville br\u00fble, Montreuil 2017, ISBN 9782360120635<\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>Questo libro esplora il rapporto tra musica e scienza, in particolare l'astronomia.<\/strong><\/p>","protected":false},"author":1,"featured_media":23203,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[1614,1616],"tags":[],"class_list":["post-23202","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critiques","category-livres-et-partitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>La 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