By Daniel Chua
This publication examines the highbrow historical past of instrumental tune, specifically the belief of absolute tune. It attempts to teach how convinced principles in philosophy, theology and the sciences have an effect on the that means and, certainly, the lifestyles of instrumental track, and the way, in flip, instrumental tune is used to solve or exemplify sure difficulties in glossy tradition. rather than latest in a natural and self sustaining shape, track is woven again into the epistemological textile and entangled with a variety of discourses, therefore demonstrating the centrality of tune within the building of which means.
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Additional info for Absolute Music and the Construction of Meaning (New Perspectives in Music History and Criticism)
P. Gouk (London: Variorum Reprints, 1985), VIII, 131–50. See Don Harrán, Word-tone Relations in Musical Thought from Antiquity to the Seventeenth Century (Neuhausen-Stuttgart: American Institute of Musicology and Hänssler-Verlag, 1986). ’ in Companion to Medieval and Renaissance Music, ed. T. Knighton and D. Fallows (New York: Schirmer, 1992). 25 The Garden of Eden rearrange reality as an opposition between the word that clarifies the world and the tone which mystifies it. Within this system, music had to be brought under the rational control of the word in case it should lure the Puritan soul back to the superstitions of the past – if not of the Pope.
What distinguishes Monteverdi’s Orfeo from Poliziano’s is that the music is no longer a realistic element called for by the narrative but saturates the entire spectacle. For Poliziano music was only required at strategic moments in the plot, whereas for Monteverdi music becomes the plot itself. By 1607, the subject had become the medium; the content is the form. Hence Poliziano’s Favola d’Orfeo is retitled L’Orfeo, Favola in musica; Monteverdi’s opera is music about music; it is both in musica and de musica.
41 But this reharmonisation of the cosmos was merely a speculative abstraction in a world without the monochord; stars no longer sang, and scales no longer laddered the sky. To reenchant a rationalised world, the Romantics could not reconstruct a system of resemblances that would validate celestial truths that are eternal and external to their subjectivity; they only had an aesthetic system which searches for truths from the particularity of their own ego, 36 37 38 40 41 Friedrich von Schiller, On the Aesthetic Education of Man: In a Series of Letters, trans.