A Language of Its Own: Sense and Meaning in the Making of - download pdf or read online

By Ruth Katz

ISBN-10: 0226425967

ISBN-13: 9780226425962

The Western musical culture has produced not just track, but additionally numerous writings approximately tune that stay in continuous—and greatly influential—dialogue with their topic. With sweeping scope and philosophical intensity, A Language of Its Own strains the earlier millennium of this ongoing exchange.

Ruth Katz argues that the indispensible courting among highbrow construction and musical construction gave upward push to the Western perception of song. This evolving and infrequently conflicted technique, in flip, formed the paintings shape itself. As rules entered tune from the contexts during which it existed, its inner language built in tandem with shifts in highbrow and social historical past. Katz explores how this infrastructure allowed tune to provide an explanation for itself from inside, making a self-referential and rational origin that has began to erode in contemporary years.

A magisterial exploration of an often missed intersection of Western artwork and philosophy, A Language of Its Own restores track to its rightful position within the heritage of principles.  

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Additional resources for A Language of Its Own: Sense and Meaning in the Making of Western Art Music

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I shall discuss intervals, tonality, and so forth later on. example 4. This is a two-voice composition from St. Martial sources that gives no basis for differentiating between long and short despite the obvious difference between the two voices in the number of notes. ) example 5. An example of syllabic notation. (From Willi Apel, The Notation of Polyphonic Music 900–1600 [Cambridge: Mediaeval Academy of America, 1953], facsimile 53, p. ) example 6. An example of melismatic notation. (From Willi Apel, The Notation of Polyphonic Music 900–1600 [Cambridge: Mediaeval Academy of America, 1953], facsimile 46, p.

7 This alone would suffice to explain why histories are rewritten time and again, though it is by no means the sole reason for this entrenched phenomenon. While social and political events supersede each other in a linear, seemingly progressive fashion, leaving scant apparent traces of earlier times (however important to the historical development as a whole), the arts, by contrast, abound in artifacts that survive their times as autonomous works. It is therefore no coincidence that the history of art chose to focus on styles and their changes, employing the artifacts themselves as evidence that discloses the objectives that guided their specific developments.

The two seem linked to each other (albeit in intricate and convoluted ways) in our 6 Introduction attempts to judge or comprehend man’s aspirations, activities, and achievements. ” 7 This alone would suffice to explain why histories are rewritten time and again, though it is by no means the sole reason for this entrenched phenomenon. While social and political events supersede each other in a linear, seemingly progressive fashion, leaving scant apparent traces of earlier times (however important to the historical development as a whole), the arts, by contrast, abound in artifacts that survive their times as autonomous works.

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A Language of Its Own: Sense and Meaning in the Making of Western Art Music by Ruth Katz


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