By Daniel Chua
This ebook examines the highbrow background of instrumental song, specifically the assumption of absolute track. It attempts to teach how definite rules in philosophy, theology and the sciences impact the that means and, certainly, the life of instrumental song, and the way, in flip, instrumental tune is used to unravel or exemplify definite difficulties in smooth tradition. rather than current in a natural and independent shape, song is woven again into the epistemological cloth and entangled with a number of discourses, therefore demonstrating the centrality of song within the development of that means.
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Additional resources for Absolute Music and the Construction of Meaning (New Perspectives in Music History and Criticism)
In fact, the song is not even a composition, but an experiment, a demonstration of instrumental rationality itself. Hence the system of equal temperament that the piece advocates means nothing other than its rationalisation. , 201. , 175. , 207. 19 The Garden of Eden Ex. 1 Demonstration of the need for equal temperament from Vincenzo Galilei’s Discorso particolare intorno all’unisono. Ó & C w ˙ b w˙ ˙ ˙ ˙˙ ? C ww . & w˙ ˙ w w ? ˙˙ . w œ # ˙ w & ˙ ˙ bw ? Ó ˙ w w˙ b ˙ ˙w ˙ ˙˙ ˙˙ ww ˙ ˙ w. w ˙ ww ˙ ˙˙ ˙ ww w˙ ˙ ˙w.
J. Willis (Leipzig: B. G. 13 Teubner, 1970), comm. 4, 2–3. See Plato, Republic, 616d–17c. Tomlinson, Music in Renaissance Magic, 62. , 136. Also see D. P. Walker, ‘Ficino’s spiritus and Music’, in Music, Spirit and Language in the Renaissance, ed. P. Gouk (London: Variorum Reprints, 1985), VIII, 131–50. See Don Harrán, Word-tone Relations in Musical Thought from Antiquity to the Seventeenth Century (Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1986). ’ in Companion to Medieval and Renaissance Music, ed.
P. McClymonds (Cambridge: Cambridge University Press, 1995). Romain Rolland, Musicien d’autrefois (Paris: Librairie Hachette, 1908), 19. See Nino Pirrotta and Elena Povoledo, Music and Theatre from Poliziano to Monteverdi, trans. K. Eales (Cambridge: Cambridge University Press, 1982), 3–36, Tim Carter, Music in Late Renaissance and Early Baroque Italy (London: B. T. Batsford, 1992), 152, and Roy Strong, Art and Power: Renaissance Festivals 1450–1650 (Woodbridge: Boydell Press, 8 1973), 37. See Pirrotta, Music and Theatre, 120.
Absolute Music and the Construction of Meaning (New Perspectives in Music History and Criticism) by Daniel Chua