By Ruth Katz
The Western musical culture has produced not just song, but in addition numerous writings approximately song that stay in continuous—and tremendously influential—dialogue with their topic. With sweeping scope and philosophical intensity, A Language of Its Own strains the previous millennium of this ongoing exchange.
Ruth Katz argues that the indispensible dating among highbrow construction and musical construction gave upward thrust to the Western perception of track. This evolving and infrequently conflicted technique, in flip, formed the artwork shape itself. As principles entered tune from the contexts within which it existed, its inner language constructed in tandem with shifts in highbrow and social background. Katz explores how this infrastructure allowed track to provide an explanation for itself from inside, making a self-referential and rational beginning that has all started to erode in fresh years.
A magisterial exploration of an often ignored intersection of Western paintings and philosophy, A Language of Its Own restores track to its rightful position within the historical past of rules.
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Additional resources for A Language of Its Own: Sense and Meaning in the Making of Western Art Music
For the logic that underlies the assessments of individual works against the style they hold in common, see Nelson Goodman’s illuminating article “The Status of Style,” in Critical Inquiry 1, no. 4 (1975): 799–812. 10. The development of harmonic tonality, for example, may serve to illustrate this point. 11. The term ‘predication’ refers to expressions that can be used to say something about objects picked out. It may refer, however, either to the activity of predication or to what is predicated.
This time, the idea is not to catch the moment at which Goodman’s notational requirements are fully realized but rather to observe the emergence of a Goodmanian system from the process of responding, in script, to certain primary musical requirements. It is largely the development of polyphonic music—in which the coordination between voices became necessary—that brought forth an awareness of problems calling for theoretical and notational solutions. The St. 29 In addition to the two-voiced compositions that move in parallel motion, we ﬁnd compositions in which voices move freely, as if independently of each other.
Treitler, “Reading and Singing,” 207. Also see Susan Rankin, “From Memory to Record: Musical Notation in Manuscripts from Exeter,” in Anglo-Saxon England, no. 13, 97–111. ” 26 The Rise of Notation as an Autonomous System Considering these debates, it is evident that an autonomous system of purely musical notation is nowhere in sight. The picture delineated so far is anything but a description of a musical world coherent unto itself and rid of ambiguities. 27 We turn now, therefore, to such 25. Levy, “On Gregorian Orality,” 216.
A Language of Its Own: Sense and Meaning in the Making of Western Art Music by Ruth Katz