By Daniel Chua
This publication examines the highbrow historical past of instrumental tune, particularly the assumption of absolute tune. It attempts to teach how sure principles in philosophy, theology and the sciences impact the that means and, certainly, the lifestyles of instrumental song, and the way, in flip, instrumental song is used to unravel or exemplify sure difficulties in glossy tradition. rather than present in a natural and self reliant shape, track is woven again into the epistemological cloth and entangled with a variety of discourses, therefore demonstrating the centrality of track within the development of that means.
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Additional info for Absolute Music and the Construction of Meaning
But whereas Zarlino idealised nature as a metaphysics of numbers, for Galilei it was an Edenic state of pure expressivity which had been lost. Thus Galilei does not only undermine instrumental music but all modern music. The vocal polyphony manufactured by the abstract contrapuntal laws of Zarlino is equally artificial for him. This is because the origin of polyphony, claims Galilei, is instrumental. It was invented by ignorant musicians who started to play ‘several airs in con15 16 17 See, for example, Claude V.
See Bianconi, Music in the Seventeenth Century, 180–9, and the chapter in this volume 20 ‘On Machines’. Galilei, Dialogo, 312. Bardi, Discourse Addressed to Giulio Caccini, 115. See Walker, Studies in Musical Science in the Late Renaissance, 63–5. Galilei, Dialogo, 118. 33 The Garden of Eden the soprano hardly moves, while the tenor flies and the bass goes strolling in slipper-socks’. 24 Clearly, music for the Camerata was no longer that composite mixture of the ancient world, where speech and tone could co-exist without being identical.
W œ # ˙ w & ˙ ˙ bw ? Ó ˙ w ˙w b ˙ w ˙ ˙ ˙˙ ˙˙ ww ˙ ˙ w. w ˙ w w ˙ ˙˙ ˙ ww w˙ ˙ ˙w. ˙ ww Ó w œœw #˙ ˙ w w #˙ w ˙ w w Ó ˙ bw b˙ nw . w ˙ œw œ ww w b ww . n ˙ . b ˙ œ w w # ww ˙ ˙ ∑ ˙ . ˙ œ œw œ ˙ . b ˙ . œ ˙ œ œw# œ œ ˙ ˙ ˙w. ˙ ∑ ˙ ˙ w ˙ ˙ w ˙ ∑ œ œ b ww ww ˙ w˙ # ˙ ww ww ˙ w œ ˙w ˙ ww bW W w w ww #W W ˙w ˙ b ww ˙ w˙ ˙ # ww the first is the product of an instrumental knowledge, the second an emanation of substantive reason; equal temperament reduces music to a quantitative sameness, Pythagorean tuning structures the world with a qualitative difference.
Absolute Music and the Construction of Meaning by Daniel Chua