Musical Notation in the West

By the early twenty-first century, Western musical notation has developed into an extraordinarily rich and complex piece of visual communication. Modern musicians expend considerable time and energy to create strategies for its more ...

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Author: James Grier

Publisher: Cambridge University Press

ISBN: 9780521898164

Category: Music

Page: 225

View: 355

A detailed critical and historical investigation of the development of musical notation as a powerful system of symbolic communication.

An Ancient Christian Hymn with Musical Notation

Notation 1 2 hyphens West ( 2001 ) 2 ] ? Hunt ( 1922 ) , I West ( 2001 ) Qoco Hunt ( 1922 , hyphens 1924 ) , 09 CO West ( 2001 ) 4 ¢ Hunt ( 1922 ) , Ó West ( 2001 ) QZ Hunt ( 1922 , 1924 ) , West ( 2001 ) [ . ) Hunt ( 1922 ) , ?? West ...

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Author: Charles H. Cosgrove

Publisher: Mohr Siebeck

ISBN: 3161509234

Category: Music

Page: 232

View: 103

In this book, Charles Cosgrove undertakes a comprehensive examination of Papyrus Oxyrhynchus 1786, an ancient Greek Christian hymn dating to the late third century that offers the most ancient surviving example of a notated Christian melody. The author analyzes the text and music of the hymn, situating it in the context of the Greek literary and hymnic tradition, ancient Greek music, early Christian liturgy and devotion, and the social setting of Oxyrhynchus circa 300 C.E. The broad sweep of the commentary touches the interests of classical philologists, specialists in ancient Greek music, church historians, and students of church music history.

Western Plainchant in the First Millennium

Studies in the Medieval Liturgy and its Music Sean Gallagher, James Haar, John Nádas, Timothy Striplin ... prosodic accents could have played a role in the development of Western musical notation.3 What my article actually did, however, ...

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Author: Sean Gallagher

Publisher: Routledge

ISBN: 9781351537131

Category: Music

Page: 544

View: 270

Taking up questions and issues in early chant studies, this volume of essays addresses some of the topics raised in James McKinnon's The Advent Project: The Later Seventh-Century Creation of the Roman Mass, the last book before his untimely death in February 1999. A distinguished group of chant scholars examine the formation of the liturgy, issues of theory and notation, and Carolingian and post-Carolingian chant. Special studies include the origins of musical notations, nuances of early chant performance (with accompanying CD), musical style and liturgical structure in the early Divine Office, and new sources for Old-Roman chant. Western Plainchant in the First Millenium offers new information and new insights about a period of crucial importance in the growth of the liturgy and music of the Western Church.

A Language of Its Own

At any rate, the crystallization of notation in the West culminates in the fifteenth century, at a point where ... The claim, rather, is that one can speak of the history of Western musical notation up to this point as if it were a ...

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Author: Ruth Katz

Publisher: University of Chicago Press

ISBN: 9780226425986

Category: Philosophy

Page: 352

View: 446

The Western musical tradition has produced not only music, but also countless writings about music that remain in continuous—and enormously influential—dialogue with their subject. With sweeping scope and philosophical depth, A Language of Its Own traces the past millennium of this ongoing exchange. Ruth Katz argues that the indispensible relationship between intellectual production and musical creation gave rise to the Western conception of music. This evolving and sometimes conflicted process, in turn, shaped the art form itself. As ideas entered music from the contexts in which it existed, its internal language developed in tandem with shifts in intellectual and social history. Katz explores how this infrastructure allowed music to explain itself from within, creating a self-referential and rational foundation that has begun to erode in recent years. A magisterial exploration of a frequently overlooked intersection of Western art and philosophy, A Language of Its Own restores music to its rightful place in the history of ideas.

The Routledge Companion to Philosophy and Music

There is a vast number of identified musical styles in Western music today, compared to music in many other cultures, ... specific musical notation in the West may have been a factor in the blossoming of so many musical styles.

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Author: Theodore Gracyk

Publisher: Routledge

ISBN: 9781136821882

Category: Music

Page: 654

View: 612

The Routledge Companion to Philosophy and Music is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Essential reading for anyone interested in philosophy, music and musicology.

The Popular Music Studies Reader

In this way , Western notation has become the dominant system of notating music throughout the world , although that dominance is certainly on the wane ( Bennett , 1983 : 224–5 ) . It has had an impact on genres of music quite removed ...

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Author: Andy Bennett

Publisher: Psychology Press

ISBN: 0415307104

Category: Music

Page: 408

View: 869

Maps the changing nature of popular music and considers how popular music studies has expanded and developed to deal with these changes. The book discusses the participation of women in the industry, the changing role of gender and sexuality in popular music, and the role of technologies in production and distribution.

Melody Harmony Tonality

Certain forms of music notation were known to the ancient Greeks, but these left little practical trace in the Christian era. And in nonWestern music, systems of notation approaching the universality of Western systems have never ...

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Author: gene Eugene Helm

Publisher: Scarecrow Press

ISBN: 9780810886407

Category: Music

Page: 210

View: 393

Where did the major scale come from? Why does most traditional non-Western music not share Western principles of harmony? What does the inner structure of a canon have to do with religious belief? Why, in historical terms, is J.S. Bach’s music regarded as a perfect combination of melody and harmony? Why do clocks in church towers strike dominant-tonic-dominant-tonic? What do cathedrals have to do with monochords? How can the harmonic series be demonstrated with a rope tied to a doorknob, and how can it be heard by standing next to an electric fan? Why are the free ocean waves in Debussy’s La Mer, the turbulent river waves in Smetana’s Moldau, and the fountain ripples in Ravel’s Jeux d’Eau pushed at times into four-bar phrases? Why is the metric system inherently unsuitable for organizing music and poetry? In what way does Plato’s Timaeus resemble the prelude to Wagner’s Das Rheingold? Just how does Beethoven’s work perfectly illustrate fully functional tonality, and why were long-range works based on this type of tonality impossible before the introduction of equal temperament? In this new century, what promising materials are available to composers in the wake of harmonic experimentation and, some would argue, exhaustion? The answers to these seemingly complicated questions are not the sole province of music professors or orchestra conductors. In fact, as E. Eugene Helm demonstrates, they can just as easily be explained to amateurs, and their answers are important if we are to understand how Western music works. The full range of Western music is explored through 21 concise chapters on such topics as melody, harmony, counterpoint, texture, melody types, improvisation, music notation, free imitation, canon and fugue, vibration and its relation to harmony, tonality, and the place of music in architecture and astronomy. Intended for amateurs and professionals, concert-goers and conductors, Helm offers in down-to-earth language an explanation of the foundations of our Western music heritage, deepening our understanding and the listening experience of it for all.

Western Plainchant

Nearly all writers on chant notation have at least paid lip - service to the idea ( Wagner II , 17 ; Jammers 1965 ... ( the music of other cultures , modern Western systems such as the Kodaly method ) or from contemporary documentation .

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Author: David Hiley

Publisher: Oxford University Press

ISBN: 0198165722

Category: Music

Page: 661

View: 271

Plainchant is the oldest substantial body of music that has been preserved in any shape or form. It was first written down in Western Europe in the wake of the Carolingian renaissance of the 8th and 9th centuries. Many thousands of chants have been sung at different times or places in a multitude of forms and styles, responding to the differing needs of the church through the ages. This book provides a clear and concise introduction, designedboth for those to whom the subject is new and those who require a reference work for advanced studies. It begins with an explanation of the liturgies which plainchant was designed to serve. All thechief genres of chant, different types of liturgical book, and plainchant notations are described. The later chapters are complemented by plates, with commentary and transcriptions. After an exposition of early medieval theoretical writing on plainchant, a historical survey follows the constantly changing nature of the repertory through from the earliest times to the restoration of medieval chant a century ago. The historical relations between Gregorian, Old-Roman, Milanese, Spanish, and otherrepertories is considered. Important musicians and centre of composition are discussed, together with the establishment of Gregorian chant in all the lands of medieval Europe, and the reformations andrevisions carried out by the religious orders and the humanists. Copiously illustrated with over 200 musical examples transcribed from original sources, the book highlights the diversity of practice and richness of the chant repertory characteristic of the Middle Ages. As both a self-contained summary and also, with its many pointers to further reading, a handbook for research, it will become an indispensable reference book on this vast subject.

The Critical Nexus

Tone-System, Mode, and Notation in Early Medieval Music Charles M. Atkinson, University Distinguished Professor of Musicology Charles M ... 131 Appropriately, the advent of Western musical notation has few rivals as a topic of scholarly ...

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Author: Charles M. Atkinson

Publisher: Oxford University Press

ISBN: 9780195148886

Category: Language Arts & Disciplines

Page: 306

View: 432

The Critical Nexus is the first book to trace the development of the notational matrix of Western music from Antiquity to the fourteenth century. It shows how principles of ancient Greek theory were grafted onto medieval practice, leading to a theory of both tone-system and mode, and a concomitant system of musical notation, that is uniquely Western.

Traces 3

Central to his critique oi ethnomusicology is its paradoxical attitude toward its own musical notation. Modern musical notation serves to marl: the West from the rest, for only the West is deemed to possess proper notation.

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Author: Thomas LaMarre

Publisher: Hong Kong University Press

ISBN: 9789622096462

Category: Social Science

Page: 296

View: 249

"Impacts of Modernities, the third volume of the Traces series, explores the problem of modernity, with an emphasis on the impact of Western modernity on East Asia. While the essays generally acknowledge modernity as a problem or even failure, in order to challenge modernization and modernization theory, the volume presents a number of different approaches to, and evaluations of, modernity in historical and contemporary frameworks. One group of essays looks at the complex relations between modernity and production of space, place and identity. Contributors consider the spatializing tendencies of modernity, looking at how resistance to modernization has tended to rely on the production of national and local identities, which may serve to reproduce and reinforce the logic of modernization in new registers. Of particular importance is the legacy of comparativism in our contemporary disciplines. Other essays explore the historically specific relations that arise between nation, empire and representation. Contributors reconsider the alleged particularity of national languages and scripts, asking whether the insistence on the particular does not already entail an access to the universal and thus maybe to empire. Still other essays question whether the prime characteristics of modern power -- subjection and sovereignty -- continue to define power relations within the contemporary world order. To what extent is it now possible to think power formations and resistance beyond the modern, otherwise than modernity?" -- Back cover.