Perceiving music as an unfolding of epigrams, molecules of meaning, unities of opposites, allows for a new appreciation of its narrative of transference as the music unfolds, and to appreciate more deeply the way in which the drama is reinforced or denied, by seeing the very mechanisms y which it accomplishes those things. Degrees of contrast and repetition ca be measured, and most importantly variation and transformation can be understood as a kind of evolution. Like the stations of the scale and the pulse, epigrams also have gravity, and what happens in between them communicates part of the drama of the intentionality of the transference; its story, its plight. and in the most skillful hands, our souls follow suit.
In melody these nuances are most easily heard in the large variety of scales found around the world. Although they all possess some forms of fifths and thirds, it is the notes between that convey the real meaning, tension and release, the distances of those " between" tones, and how they are rhythmically placed. Again, in rhythm, through there is often a predictable pulse, what suggest tensions agains the different beats, based on there relative distances from the pulse. These epigrams, melodic and rhythms, can then be arranged into larger coherent structures, compositions, also unifying opposites, and so music is born.
The music we love is the drama of the transference of epigrams, opposites in interplay, unfolding, repeating, contrasting, and most importantly, varying, through melody, harmony, and rhythm.
