The origin of the music is in a long past, according to the French musicologist J. Chailley, the music of about 40000 years. Regarding how music was born, opinions are divided, many scientists occupying the issue of origin. Ricciotto Canudo, in his book L'homme (Musical Psychology of Civilizations), tries to reconstitute the primordial contact with man with two sources of music. One is nature, the other the human body. Nature gives the man the sound of storm and thunder, the murmur of the rivers and the rustle of the leaves, the chirping of the birds, and the human being - heartbeats, interjections and swirls of his voice, beatings or whistling.
When homo faber began to make tools, they were another source of sound, taken over by man to intercede and musical expression. The tools enriched the soundtrack, for the stones, sanded or not, beaten to one another, like the pieces of wood, provided the first instruments of percussion. The cane stalks, the bones emptied of the marrow, or the horns of the animals, were the first instruments to blow, while the strings of the bow suggested the instruments with pinched strings. Today's dagger has its origins in the animal skins, set on the tree trunks. From this notion of sounds, which were at first only means of signaling, man chose different clues, capable of externalizing his feelings and thoughts.
There have been many hypotheses that try to determine how man began to make music. They contain more data on the conditions in which man has delivered the musical sounds or the factors that contributed to the embodiment of the first formulas of musical expression.
In Antiquity, Lucretius Carus (99-55 BC in the writing of De rurum nature) and Democritus (470-370 BC) believed that man wanted to imitate the sounds of nature. It is precious for this idea of rendering the surrounding universe, but to reduce music to man's intention to imitate nature is to place us in naturalistic positions, because it does not mirror reality by copying sounds only, but the creators communicate their states. The unilateral acceptance of imitation theory (mimesis) can lead to the absurdities of concrete music of the 20th century, which introduces the noises of everyday life, as well as the mere recording on magnetic tape. In the 4th century, St. Augustine (372-430) considered that man is appealing to music when he is overwhelmed by emotion, because at that moment he no longer speaks, but jubils.
If the German esthetician Ernst Grosse (1862-1927, Die Anfänge der Musik, 1894) believed that music was the work of collective consciousness, Karl Gross (1861-1946) attributed her to homo ludens (in the Human Games, 1899) , being the result of a simple game, proving the baby's babble. For Karl Bücher (1847-1930), the rhythm of work generated music, and for the Austrian musicologist Richard Wallaschek (1860-1917, Primitive music, 1893), the rhythm of collective magic dances. In Arbeit und Rythmus (1902 - Work and Rhythm), Bücher believes that the rhythm of labor movements has helped to ease the effort and the first organized sound sequences, creating the premises of songs related to different human occupations. Although the presence of the music in the process of work is correctly revealed, only the mechanical element, which generated rhythmic formulas, is emphasized, and the expression of joy or sadness of the man practicing a certain activity is not emphasized.
In The Origin and Function of Music (1881), the English philosopher Herbert Spencer (1820-1903) analyzes the process of birth of music and the formation of his language, explaining sound relations as musical representations of various tense states. Dominated by a sense of passion, man is incapable of expressing by words what he feels, emitting prolonged and modulated sounds. He thus created a new, more direct sound without the plastic notion, capable of suggesting his emotions. He explains the appearance of music based on the modulation of the impulse of emotion, the intonations of speech.
Also in the category of emotional origin is the hypothesis of Charles Darwin (1809-1882), which assumes that music was born from the interjections and sound signals of man in the partner's call, starting from the example of birds and other animals. In Expression of Excitement in Men and Animals (1872), Darwin confuses the birds' music from the instinct with that of man, resulting from a conscious thought process. His thesis was fought, for the music of the primitive peoples does not resemble the song of the birds, and it plays a big part in the rhythm.
In Essai sur l'origine des langues, Jean-Jacques Rousseau (1712-1778) supports the simultaneous birth of music and poetry, both of which are immediate expressions of affective states.
Although in his Dictionary of Music he gives a hedonistic definition, as "the art of combining sounds pleasantly to the ears," in Chapter XIII - Concerning Harmony (from the quoted work), he points out that the force of music on the listener is not the work of sounds, of the passions expressed. Later, the Austrian esthetician Eduard Hanslick (1825-1904), in his work About Musical Beauty (1854), will consider music as a mere Arabic sound. According to Hanslick, music is but the art of combining sound, and emotion is produced through an association of ideas, its expressive background resulting from the projection of the public's soul states, music being unable to reproduce the creator's soul. German poet Johann Gottfried Herder (1744-1803) considers emotional language a source of music.
In Kalligona, a work in which he shares his aesthetic views, Herder sees in the voice of nature's voice with the energy of emotion the natural expression of feelings, and in musical sound a means of communicating the inner tension. This theory of music, as a means of exteriorizing emotional states, has been highly appreciated by romantic poets. The Hungarian musicologist Geza Revesz and the German esthetician Karl Stumpf (1848-1936, Die Anfänge der Musik) are the followers of the genesis of music in affective speech. K. Stumpf counts music as an acoustic means of communication between people, according to the acoustic signal theory.
After presenting the most important theories in his book, Introduction to Music Psychology (Einführung in der Musikpsychologie -1946), Revesz issues the theory of contact, stating that certain musical formulas were born from the hunters and shepherds' appeals and answers, in their remote communications. In the same sense, K. Stumpf mentions the hunts in his book, The Beginnings of Music. He also dealt with objective factors that determine musical language, exploring the issue of consonance and acoustics.
Another theory belongs to T. Mc. Laughlin (in Music and Communication, 1970), which claims that music was born out of babbling. She is frustrated with the fact, as Revesz has shown, that, even at the earliest age, the chirping of children copies the intonations of the others, they do not produce them spontaneously. He also countered the utilitarian theory, after which man accidentally invented the music, being useful in coordinating his work efforts, for he only explains the rhythmic side, which does not mean, however, music. In the first volume of Histoire de at musique (1913), as well as in La musique et la magie (1909), the French musician Jules Combarieu (1859-1916) considered that music developed from magic formulas. The primitive man believed in the existence of unseen beings, who govern the world and connect with magic chanting formulas. Inspired only by initiates, these magical chanting formulas, becoming ineffective, turned into implode, moving from the narrow circle of initiates to the whole community. This hypothesis is valuable because it presupposes the existence of a conscious activity, the formulas being executed with the purpose of transforming life, while mirroring the attitude of the subject. Oswald Spengler (in the Untergang des Abendlandes) claims that music does not appeal to notions in the visual space so it is close to prayer, having to be put on the same plane as religion. If in the Aesthetic Treaty (1933), D. Cuclin (1885-1978) proposes the thesis of the divine origin of music, G. Lukacs, in his Aesthetics, considers that the music has a mimetic character, but unlike the other arts, the mimesis- is the inner world of man.Pierre Schaeffer determines the moment of the appearance of the music when the man began to strike different objects, producing different sounds. By sensing these sound reports, the man sought to repeat them and, of course, to develop them. Also in the twentieth century, Maurice Pradines, in the Psychogenesis of Music (from his psychology treaty), tries to determine the moment of transition from signal sound to aesthetic function, by issuing the hypothesis of "mutation." Considering that all the hypotheses enumerated contain a a psyche of truth, the French psychologist shows that both the sounds of nature and those produced by man, his body, or the instruments, initially had a signaling function. When the sound produces a pleasure, man tries to reproduce it to renew the excitement. From this moment on, man began to make music not only for excitement, but also for the purpose of using it for utilitarian purposes: attracting or removing animals, and especially because of the enchanting nature of the created music, communicating with the forces of nature , to which he could impose his will in this way. Thus, the practice of magic was born, which required a series of fixed formulas, known and kept secret by those who practiced magical rituals. It's time to defend