By Ruth Katz
The Western musical culture has produced not just song, but in addition numerous writings approximately track that stay in continuous—and significantly influential—dialogue with their topic. With sweeping scope and philosophical intensity, A Language of Its Own lines the earlier millennium of this ongoing exchange.
Ruth Katz argues that the indispensible dating among highbrow creation and musical construction gave upward thrust to the Western belief of track. This evolving and occasionally conflicted strategy, in flip, formed the artwork shape itself. As principles entered track 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 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 paintings and philosophy, A Language of Its Own restores track to its rightful position within the historical past of principles.
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Additional resources for A Language of Its Own: Sense and Meaning in the Making of Western Art Music
See Walter Kaufman, Musical Notations of the Orient: Notational Systems of Continental East, South, and Central Asia (Indiana, 1967). 3. The biblical story of Balaam (who was summoned by Balak, the king of Moab, to 14 Chapter One such conceptions may or may not affect the classiﬁcation of objects, they invariably affect the developments of those objects that are, to start with, man-made. However complicated it might seem, this is precisely what happened in the historical development of music in the West.
Like letter script, the notation that concerns us here, if it is to fulﬁll a curse the enemy—the Children of Israel—before engaging in actual ﬁghting) suggests that Balak entertained the thought that “points of view” may affect the perception of the object observed and, consequently, the action it might elicit (see Numbers 23:11–13). In a less “literal” fashion, the query about the feasibility of “objective” observations has preoccupied not only physicists dealing with quantum mechanics but also many others—anthropologists, historians, not to mention philosophers—who also wished to supply “objective views” of the subjects, issues, or processes they had chosen to study.
Even so, the rhythmic modes made it possible to organize and coordinate between several voices. However, since the notation itself does not differentiate between longs and shorts, since it lacks disjointness and ﬁnite differentiation, on the syntactic level this notation does not function as a notational system inasmuch as the identity of works, that is, their actual sound, is subject to a particular method related to style and is not inherent in the notation itself. 34 Chapter One Although the organization of voices through the rhythmic modes allows for a certain degree of independence among the voices, the overall ﬂow of the music is rather rigid.
A Language of Its Own: Sense and Meaning in the Making of Western Art Music by Ruth Katz