Question: Hello, I'm from the Baltimore office. My question is relating to music. I write a lot of poetry, and a lot of lyrics, and some songs, and I want to ask you, just because, I like music, and it isn't Classical, does it not have meaning, is it not music?

LaRouche: Well, if it's not Classical, it's wrong. The question here is not a Classical form. It's a Classical principle, as I noted earlier. The form should be subordinate to the intent, to the principle, not the principle to the form.

Now, one of the best examples of this, is -- well, this, of course, is a more advanced subject, but it's being addressed by some of us. Take the case of one of the greatest revolutions in music -- since Bach, at least. Bach's revolution was so impressive that it overwhelms almost everything that follows. But after Bach's revolution, the most impressive change in music was that done by Beethoven, as expressed in such works as his Missas Solemnis, and his final series of string quartets.

In this, Beethoven breaks from the strictures of a formal compositional form, such as the formal quartet form, and as in the Op. 131, 132, moves into a straight developmental form, in which there's a progression of development of a single idea, to such effect that going through these compositions -- the 131 and 132 are fairly long -- but going through these compositions from beginning to end, with a good understanding of them, produces an effect which, in total effect, is absolutely magnificent.

Now, this is a result of a change in form. You have a similar change which occurs in Beethoven in the Piano Sonata 106, the so-called Hammerklavier. In the third movement, the Andante Sostenuto, there is a development section in which the development goes through a rapid change, a succession of keys, it's in a form of modalities, which is almost free. This element of that part of that movement, is then used by Brahms as the developmental principle of his Fourth Symphony, which indicates a progression. Beethoven in his Seventh Symphony is already moving in that direction, and Brahm's Fourth Symphony has many reflections of the approach to composition of Beethoven's Seventh.

So, in the process of musical development, there have been revolutionary changes in the forms, but never violating the principle. As a matter of fact, almost more strenuously emphasizing the extension of the principle, rather than the form as such.

The same thing is true in physical science. That in physical science, the progress, actual progress in physical science, involves revolutionary overtones in the sense of forms. So, there's not a Classical model, in the sense of a fixed model of form of composition. There is rather a principle of composition, in which you may use different forms, as long as the principle is the same. So I don't think there really should be a problem. I think what you get today, is, in a sense, is the idea of having effects, which are strictly sensual types of effects, used as the romantics did, as a substitute for Classical composition, for ideas. And that's where the problem lies. The term "Classical" should mean, exactly as I said earlier, should mean that; it should mean a specific principle. Even though you have to have respect for the fact, that certain forms were developed according to Classical principle.

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