creative art man must experience himself - his total self - as a cybernetic model"
(Ronald D. Laing: the term 'cybernetic' here means in balance with oneself). In ordinary
language this would mean, for example, that the Jupiter Symphony is a cybernetic model, an
image of the human psyche, of man's total self. A totally [...] balanced musical
masterpiece contains wisdom in the same way as a creation of nature (of which it
has been said that the fibre structure of an ordinary human thigh-bone is such a
masterpiece that the combined engineering skills of our time would not be able to
reproduce it). A work of art - and let me stick to music as the art form most devoid of
short-term objectives - offers us a wise model of our own humanity!
Nørgård's aesthetic taste dictates that music must be
comprehensible, and this is closely connected with his understanding of the significance
of music - his ethics of music.
'Human' music, which is built up around interferences and can contribute to a deeper knowledge of humanity, is created on the basis of a concept of 'Genuine' art. As the following quotation (from the interview on the occasion of Nørgård's 60th birthday) reveals, genuine art is art that discovers something new:
When they [a school of Danish landscape painters] appeared on the scene, a field was green, a tree trunk brown and the sky blue [..], but after Syberg and the others had demonstrated that a field might just as well be violet, a tree trunk bright red and the sky black, people began to see them like this. [..] There is a direct link from this to the idea that in order to be genuine, Art has to discover something that was not known before!
Nørgård goes on to offer a deeper explanation, showing that this 'genuineness' has nothing to do with 'nie erhörte klänge':
I am so
taken up with the elementary things in life because I go around with this kind of
childlike idea that from one moment to the next I can come to look at life in a new way;
and in fact this has happened sometimes, with the result that my view of things has been
definitively changed, as in the case of drops of water, for example: at one point I began
to hear drops of water as tones [..]. In this way we can all the time come closer to
hearing something which we did hot hear the day before.
(For a more through treatment of Nørgård's position based on an analysis of Martin A. Heidegger's work, Kunstværkets oprindelse, [Danish translation] Samlerens bogklub, Copenhagen, 1994, see Svend Hvidtfelt Nielsen's Virkeligheden fortæller mig altid flere historier (Reality is always telling me new stories), The Funen Academy of Music, 1995).