By Ruth Katz
The Western musical culture has produced not just song, but in addition numerous writings approximately song that stay in continuous—and greatly 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 creation and musical construction gave upward thrust to the Western notion of tune. This evolving and occasionally conflicted technique, in flip, formed the artwork shape itself. As principles entered song from the contexts during which it existed, its inner language constructed in tandem with shifts in highbrow and social heritage. Katz explores how this infrastructure allowed song to give an explanation for itself from inside, making a self-referential and rational starting place that has began to erode in fresh years.
A magisterial exploration of a regularly neglected intersection of Western artwork and philosophy, A Language of Its Own restores track to its rightful position within the historical past of rules.
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Additional info for A Language of Its Own: Sense and Meaning in the Making of Western Art Music
The Making of Musical Building Blocks 33 example 7. The different combinations of ligatures for the six rhythmic modes. (From Willi Apel, The Notation of Polyphonic Music 900–1600 [Cambridge: Mediaeval Academy of America, 1953], p. ) of binary ligatures, but with a ternary ligature at the end of the sequence. The third mode begins with a single note followed by ternaries to indicate the rhythmic sequence that consists of a so-called perfect long, that is, a long equaling three shorts, followed by a short and then a prolonged short equaling two.
It must rather be “that the musicians who devised the economical neumatic system of graphing melodic events considered the speciﬁcs of pitch to be secure enough 22. L. D. Reynolds and N. G. Wilson, Scribes and Scholars: A Guide to the Transmission of Greek and Latin Literature (Oxford, 1974), 83. For the “Carolingian Revival,” see 82–94. 23. Treitler, “Reading and Singing,” 140. Also see Hucke, “Die Einführung des Gregorianischen Gesangs im Frankenreich,” in Römische Quartalschrift 49 (1954): 172–85; “Gregorianischer Gesang in alt-römischer und fränkischer Uberlieferung,” in Archiv für Musikwissenschaft 12 (1955): 74 -87.
Although containing more information, these compound neumes did not differentiate clearly among their constituent elements and thus cannot meet Goodman’s syntactic requirements, namely that the characters be disjoint and ﬁnitely differentiated (see note 27). Nor do they eliminate ambiguity as far as their “compliants,” that is, what they refer to, are concerned. Only with the transition to pitch notation, which views a change in pitch as the movement between two stations, is the way example 1. These pages are from a tonarium—a vocal exercise for learning the modes—and both contain the same musical material.
A Language of Its Own: Sense and Meaning in the Making of Western Art Music by Ruth Katz