Gh. A. M. Ciobanu: The Third Millennium in G Clef – „The Ontiphony” and The third millenium on the stave Vol. III- „The Olneophonism”

 The steady evolution of humankind, of its spiritual and material creations, has brought into being new visions and forms with which to meet the future. The Arts and especially Music, are very important to this process, contributing as they do to new and broader perspectives. Thus, in recent times, “Orfeu’s Art” created many original formulas, some of them seemingly natural, but many others connected with mathematical experimentation and with electronic techniques.

   At the same time, human civilization has come closer and closer to the immensity of the universe, knowing it and intimately living its existential greatness, naturally sensing its artistic themes and creativity.

   For several decades now, the terrestrial space in which we dwell with all its multitude of socio-human embodiments, has been revealed to us through the balanced tonal music, through its minor and major pulses. Yet, to also grasp the cosmos from “beyond”, with its structure of infinite islands and with its stellar neutrality, can not be achieved, either formally or symbolically, based simply on the tonal binominal. And, as humankind is heading more and more and with amazing speed  towards becoming a “cosmic fan”, in order to generate this “mega” or “infinity” it seems that the endless attribute of the modes must be used, with their multitude, seemingly repeating the galaxies of the sky.

   From this comes our motivation to create, through “Ontifonism”, a musical formula which is based, mainly, on modes. Such a music, genetically modal, can embody the universe more authentically, separate from the “existence” lived in the terrestrial world, capturing, with its characteristic spatiality, the big “Existence”“the World Ontism”  – from whence comes the name of “Ontifonism”.  From the plurality of the modes, as if without limit, I separated a number of 295 which I constituted in a system, unitary but also open, with or without symmetries, orderly, oriented towards stellar expansion and retraction, each of them being constituted, entirely, as an element in itself of ontic creativity, as it is, tonally one, the sound.

   Being a music of “tomorrow”, also “updated” are both the new forms of artistic creation and the terminology “from now on”, as well as the interpretation procedure, personal reception and re-creation. The “Ontifonism” , a deep human formula and adequate to the future spirituality, brings to fruition in a superior manner the subtle  and multiple content of the modes, the spatial cosmic image conveyed by these, the differential modality but also the co-operation between modal and tonal, the creative capacity of all the participants, as well as the amplifying feeling of human belonging to the infinite of “beyond”, which will be known from “meta” to “mega”, generation after generation, ever more, but only from afar. The repeated flights of the cosmic rackets, no matter how evolved they might be, will never offer us the universe. Our destiny, as people of Terra, repeats, from this point of view, the loneliness of Eminescu’s “Euthanasius’ Islands”.

   The “Ontifonism” does not generalize and separate itself from the other formulas, be they classical or avant-garde, but just joins them. It is a contemporary modality through which man also attains a cosmic dimension from an aesthetic point of view, and the astral space becomes through this also human.  







Here we are, even in a more imaginary world, „beyond” the infinte of The World, so as to get our inspiration for our musical creation, earthly and humanly at the same time.

If the first two volumes of our Trilogy ventured in the close and distant Universe of the Cosmos, somehow known by us, now, this third one, is „launching” in the, impossible to name it in our words, „Space”, entirely unknown by mankind. Unknown and unperceivable, in which it can „sneak in”, with a speed higher than that of the light, the imagination and creatuvity, these also having there an unlimited „opening” of „ars apertissima”.

I named the demiurgic formula, operating in that „Unknown”, referring to an entirely unknown World, as „Olnephonism”.

Coming from „Beyond”, we imaginated, in this paper, several visions of cosmic „meta existences” with thier underlying appearances, ultimate perspectives and entities, asscociating for each „pattern” the mysterious being of the biologic phenomenon. Thus there is also the urge of meta earthly kind of Arts to associate, generally speaking, with desriptive Astronomy.

The unknown also implies its ultimate embodiment, its adjacent musical parts being, as a structure, greatly reduced.

The „Olnephonism” must be spontaneously created and lived, and not mathematicallz calculated. In its Aesthetics a primordial role is played byour human feelings, thinking about creativity, which has nothing singular in itself, but which will „probably” and naturally join the ever growing multitude of the aesthetic visions of the future. It would also be a way of perceiving, earthly and demiurgically, the „Beyond”. A „Beyond” above which we will also „encounter” another „Beyond”.