By Daniel Chua
This ebook examines the highbrow historical past of instrumental track, particularly the assumption of absolute track. It attempts to teach how convinced rules in philosophy, theology and the sciences impact the which means and, certainly, the life of instrumental song, and the way, in flip, instrumental tune is used to unravel or exemplify yes difficulties in smooth tradition. rather than current in a natural and self sustaining shape, tune is woven again into the epistemological textile and entangled with various discourses, hence demonstrating the centrality of tune within the building of that means.
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Extra info for Absolute Music and the Construction of Meaning
Friedrich Blume, Protestant Church Music: A History (London: Victor Gollancz, 1975), 8 509. Foucault, The Order of Things. See Aristotle, De anima, 420b27–8. On ‘vox’, see Charles Burnett, ‘Sound and Its Perception in the Middle Ages’, in The Second Sense: Studies in Hearing and Musical Judgement from Antiquity to the Seventeenth Century, ed. C. Burnett, M. Fend and P. Gouk (London: Warburg Institute, University of London, 1991), 46–9. See Tomlinson, Music in Renaissance Magic, 50 and 85. 13 Speech and sound were therefore equated in the heavens.
Jœ œ . # œj œ œ ˙ ˙ ˙ ˙ ˙ ˙˙ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ ˙œ œ ˙ ˙ œ œ œ œ œ ˙ Dal mio œ œ ˙ œ . Jœ ˙ œ œ œ J ˙ ˙ ˙ ˙ La Musica ˙ ˙ ˙ #œ ˙ #˙ ˙ ˙ .. Œ .. Ó ∑ .. w œ œ œ. J J J Per - mes - œ J so ∑ w b anger, now with love’. 38 He possesses the magic of Musica who at the very start is able to change her lines over an unchanging bass to exhibit her rhetorical prowess. She is the one who can conjure up passion with wayward intervals that do not need to return to the final; she opens out the harmonies, to the fifth (bars 14, 24, 35, 46) then to the dominant of the fifth (bar 57), that the ritornello has to close; she flouts the laws of dissonance which the ritornello keeps, and she distorts the melodic contours that it delineates.
This new order’, writes Weber, ‘is now bound to the technical and economic conditions of machine production which today determines the lives of all the individuals born into the mechanism . . 26 The rationalised worship of Protestantism is still religious worship. Music, to borrow the language of the reformers, was still grace and not yet work. But what does this worship sound like when it is secularised as a commodity under the conditions of machine production that Weber speaks of? What is the music of ascetic Protestantism in secular form?
Absolute Music and the Construction of Meaning by Daniel Chua