To listen to contemporary music, where experimentation reduces musical language to its most elementary form -the twelve semitones that make up a complete octave- and in which the structural and mathematical prevails over the melodic -
Arnold Schönberg
and
Alban Berg
, among others-, it is necessary to know how to read music.
This is also the case with history where, to understand "the vital system" that makes up each time, its culture - to say it with O
rtega y Gasset
-, it is necessary to delve into the lives of those
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