Why is music such an incredible placebo?

Argentinean music psychologists say that there is a connection between music and our earliest experiences. In this sense, music and our primary feelings are strongly related. Isn't this weird? I mean that nobody thinks about a mother and his baby while listening to Wagner. But I'm sure that our musical structure is developed during this time.

New timbres

I expect to hear new timbres in the future. We must thank lots of people because of their 20th century creations -Harry Partch, Léon Theremin, Robert Moog, and so on-, but I think this is not over. There are lots of new timbres left. In our musical canvas there are many colours that are missing.

What is music saying to music?

There is a sort of communication between several states of music. Music is always linking itself, establishing bonds between past, present and future of music.
But wait, because when I say music I'm not exactly using a shared concept.
My idea is that music is not only what's happening around there, but it is also the relationship between the listener and the "that". "That" can be lots of things: a performer, an album, a random situation with some kind of musical character, etc. It's always better to avoid closing this complex term. Music is a word that must be opened in order to be studied. Opening words means linking them a lot with new terms and ideas.
This amplification of music is what gives birth to interesting ideas such as the spectral communication -Schifres & Martinez- that is being held between musical actors during our musical life. I agree with the idea that music hosts a communication in time. Time is a strange key in music and it should be studied properly.

Imaginación y metáfora en la audición musical / I.-C. Martínez

Para la teoría de la estructura subyacente la jerarquía de tensiones entre eventos evoluciona en el interior de la obra de acuerdo al derrotero que sigue la progresión tonal. En la superficie, cada evento obtiene su función como resultado de sus conexiones con los eventos inmediatamente circundantes en la cadena de sucesiones; el recorrido entre líneas de eventos sucesivos genera ángulos de desvio de la tensión general de la pieza que contornean la línea del movimiento principal de la composición. Al mismo tiempo, la continuidad del flujo musical se manifiesta en una cualidad general del movimiento que sintetiza las relaciones de tensión y distensión acontecidas en la sucesión de eventos. Así, el flujo se encauza en un patrón estructural profundo que regula la tensión general y establece fuertes vínculos entre puntos que si bien distan temporalmente, resultan próximos en la altura tonal, generando en la profundidad una continuidad lineal cuyas metas estructurales se resuelven en el largo plazo."