Each musical organ pipe is blown by a column of air, pushed in turn by a column of wave-moved water, through a plastic tube immersed into the water. The pipes' musically tuned sounds emanate to the surroundings through apertures in the vertical planes of the uppermost
stairs. The 7 successive groups of musical tubes are alternately tuned to two musically cognate chords of the diatonic major scale. The outcome of played tones and/or chords is a function of random time and space distribution of the wave energy to particular organ pipes.
Listen to some sounds of the Sea Organ
In this part of Croatia the prevailing musical tradition is the spontaneous four-voice male singing, with melodies and chords conforming to the diatonic major scale. The 5 musically tuned pipes of each section are arranged in meter spacings. A listener, standing or sitting on a chosen point on the scalinade, should be able to hear 5 to 7 musically tuned pipes play their natural music. Thus, whole five-pipe sections are tuned to one musical chord. The citizens of Zadar are extremely proud of the first natural musical organ driven by the sea waves ever to be constructed. This installation, absolutely unique in the world, was designed to let people enjoy the point where the medieval town of Zadar embraces the Adriatic.
During the first half of the twentieth century, a significant shift to general aesthetic theory took place which attempted to apply aesthetic theory between various forms of art, including the literary arts and the visual arts, to each other. This resulted in the rise of the New Criticism school and debate concerning the intentional fallacy . At issue was the question of whether the aesthetic intentions of the artist in creating the work of art, whatever its specific form, should be associated with the criticism and evaluation of the final product of the work of art, or, if the work of art should be evaluated on its own merits independent of the intentions of the artist.