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Author : René Descartes
Publisher : Unknown
Page : 142 pages
File Size : 50,9 Mb
Release : 1653
Category : Music
ISBN : CHI:17041842
Author : Anonim
Publisher : Unknown
Page : 546 pages
File Size : 42,8 Mb
Release : 1832
Category : Music
ISBN : NYPL:33433068938111
Author : Rebecca Herissone
Publisher : Routledge
Page : 238 pages
File Size : 52,8 Mb
Release : 2017-07-05
Category : Music
ISBN : 9781351547338
Synopsis of Vocal Musick, by the unidentified A.B., was published in London in 1680 and appears to have only ever had one edition. Its relatively short shelf-life belies its importance to the history of early British music theory. Unlike other English theoretical writings of the period, the Synopsis derives many of its aspects from the continental theoretical tradition, including the first references in English theory to the modern fractional time signatures that had been invented in Italy in the mid-seventeenth century, the first references in English to compound time and the first explanations of tempo terms such as Adagio and Presto. In these respects the treatise forms an important link between English and continental theoretical traditions and may have encouraged the adoption of Italian principles which became a common feature of English writings by the early eighteenth century. The treatise is essentially in two parts. The first section of the book comprises rudimentary instruction on understanding notation and intervals, descriptions of common vocal ornaments and instruction in the process of learning to sing. The second part consists of a selection of psalms, songs and catches which are provided as exercises for the singer, though several of them require a reasonably advanced degree of skill. These pieces provide valuable insight into the way both sacred and secular music might have been performed by amateur musicians in the Restoration period. They include 14 rare English madrigal settings by the Italian composer Gastoldi - further evidence of the Italian influence which pervades the text. This is the first modern edition of the Synopsis, and indeed the first edition to appear since its original publication.
Author : Benjamin Wardhaugh
Publisher : Routledge
Page : 222 pages
File Size : 48,6 Mb
Release : 2017-07-05
Category : Music
ISBN : 9781351557085
How, in 1705, was Thomas Salmon, a parson from Bedfordshire, able to persuade the Royal Society that a musical performance could constitute a scientific experiment? Or that the judgement of a musical audience could provide evidence for a mathematically precise theory of musical tuning? This book presents answers to these questions. It constitutes a general history of quantitative music theory in the late seventeenth century as well as a detailed study of one part of that history: namely the applications of mathematical and mechanical methods of understanding to music that were produced in England between 1653 and 1705, beginning with the responses to Descartes's 1650 Compendium musicand ending with the Philosophical Transactions' account of the appearance of Thomas Salmon at the Royal Society in 1705. The book is organized around four key questions. Do musical pitches form a small set or a continuous spectrum? Is there a single faculty of hearing which can account for musical sensation, or is more than one faculty at work? What is the role of harmony in the mechanical world, and where can its effects be found? And what is the relationship between musical theory and musical practice? These are questions which are raised and discussed in the sources themselves, and they have wide significance for early modern theories of knowledge and sensation more generally, as well as providing a fascinating side light onto the world of the scientific revolution.
Author : Benjamin Wardhaugh
Publisher : Routledge
Page : 214 pages
File Size : 46,8 Mb
Release : 2017-07-05
Category : Music
ISBN : 9781351557078
How, in 1705, was Thomas Salmon, a parson from Bedfordshire, able to persuade the Royal Society that a musical performance could constitute a scientific experiment? Or that the judgement of a musical audience could provide evidence for a mathematically precise theory of musical tuning? This book presents answers to these questions. It constitutes a general history of quantitative music theory in the late seventeenth century as well as a detailed study of one part of that history: namely the applications of mathematical and mechanical methods of understanding to music that were produced in England between 1653 and 1705, beginning with the responses to Descartes's 1650 Compendium music?and ending with the Philosophical Transactions' account of the appearance of Thomas Salmon at the Royal Society in 1705. The book is organized around four key questions. Do musical pitches form a small set or a continuous spectrum? Is there a single faculty of hearing which can account for musical sensation, or is more than one faculty at work? What is the role of harmony in the mechanical world, and where can its effects be found? And what is the relationship between musical theory and musical practice? These are questions which are raised and discussed in the sources themselves, and they have wide significance for early modern theories of knowledge and sensation more generally, as well as providing a fascinating side light onto the world of the scientific revolution.
Author : Philippe Vendrix
Publisher : Routledge
Page : 609 pages
File Size : 48,7 Mb
Release : 2017-07-05
Category : History
ISBN : 9781351557504
This volume unites a collection of articles which illustrate brilliantly the complexity of European cultural history in the Renaissance. On the one hand, scholars of this period were inspired by classical narratives on the sublime effects of music and, on the other hand, were affected by the profound religious upheavals which destroyed the unity of Western Christianity and, in so doing, opened up new avenues in the world of music. These articles offer as broad a vision as possible of the ways of thinking about music which developed in the fifteenth and sixteenth centuries.
Author : Rebecca Herissone
Publisher : Oxford University Press, USA
Page : 354 pages
File Size : 45,6 Mb
Release : 2000
Category : Music
ISBN : 0198167008
Thus, over the course of the seventeenth century, there occurred a complete transformation in almost every aspect of theory: by the 1720s, many of the principles being described bore close relation to those still used today. Nowhere was this metamorphosis clearer than in England where, because of a traditional emphasis on practicality, there was much more willingness to accept and encourage new theoretical ideas than on the continent.
Author : Benjamin Wardhaugh
Publisher : Ashgate Publishing, Ltd.
Page : 300 pages
File Size : 48,7 Mb
Release : 2013
Category : Music
ISBN : 0754668444
Thomas Salmon (1647-1706) is remembered today for the fury with which Matthew Locke greeted his first foray into musical writing, the Essay to the Advancement of Musick (1672), and the near-farcical level to which the subsequent pamphlet dispute quickly descended. Beneath the unedifying invective employed by Salmon, Locke and their supporters however, serious and novel statements were being made about what constituted musical knowledge and what was the proper way to acquire it. This volume is the first published scholarly edition of Salmon's writings on notation, previously available only in microfilm and online facsimiles.
Author : Benjamin Wardhaugh
Publisher : Routledge
Page : 214 pages
File Size : 40,5 Mb
Release : 2017-07-05
Category : Music
ISBN : 9781351539197
This is the second volume in a two-part set on the writings of Thomas Salmon. Salmon (1647-1706) is remembered today for the fury with which Matthew Locke greeted his first foray into musical writing, the Essay to the Advancement of Musick (1672), and the near-farcical level to which the subsequent pamphlet dispute quickly descended. Salmon proposed a radical reform of musical notation, involving a new set of clefs which he claimed, and Locke denied, would make learning and performing music much easier (these writings are the subject of Volume I). Later in his life Salmon devoted his attention to an exploration of the possible reform of musical pitch. He made or renewed contact with instrument-makers and performers in London, with the mathematician John Wallis, with Isaac Newton and with the Royal Society of London through its Secretary Hans Sloane. A series of manuscript treatises and a published Proposal to Perform Musick, in Perfect and Mathematical Proportions (1688) paved the way for an appearance by Salmon at the Royal Society in 1705, when he provided a demonstration performance by professional musicians using instruments specially modified to his designs. This created an explicit overlap between the spaces of musical performance and of experimental performance, as well as raising questions about the meaning and the source of musical knowledge similar to those raised in his work on notation. Benjamin Wardhaugh presents the first published scholarly edition of Salmon's writings on pitch, previously only available mostly in manuscript.
Author : P. Gozza
Publisher : Springer Science & Business Media
Page : 322 pages
File Size : 42,6 Mb
Release : 2013-03-09
Category : History
ISBN : 9789401595780
Number 10 Sound: The Musical Way 10 the Scientific Revolution is a collection of twelve essays by writers from the fields of musicology and the history of science. The essays show the idea of music held by Euro th pean intellectuals who lived from the second half of the 15 century to the th early 17 : physicians (e. g. Marsilio Ficino), scholars of musical theory (e. g. Gioseffo Zarlino, Vincenzo Galilei), natural philosophers (e. g. Fran cis Bacon, Isaac Beeckman, Marin Mersenne), astronomers and mathema ticians (e. g. Johannes Kepler, Galileo Galilei ). Together with other people of the time, whom the Reader will meet in the course of the book, these intellectuals share an idea of music that is far removed from the way it is commonly conceived nowadays: it is the idea of music as a science whose object-musical sound--can be quantified and demonstrated, or enquired into experimentally with the methods and instruments of modem scientific enquiry. In this conception, music to be heard is a complex, variable structure based on few simple elements--e. g. musical intervals-, com bined according to rules and criteria which vary along with the different ages. However, the varieties of music created by men would not exist if they were not based on certain musical models--e. g. the consonances-, which exist in the mind of God or are hidden in the womb of Nature, which man discovers and demonstrates, and finally translates into the lan guage of sounds.
Author : Benjamin Wardhaugh
Publisher : Routledge
Page : 342 pages
File Size : 51,8 Mb
Release : 2017-07-05
Category : Music
ISBN : 9781351561587
John Birchensha (c.1605-?1681) is chiefly remembered for the impression that his theories about music made on the mathematicians, natural philosophers and virtuosi of the Royal Society in the 1660s and 1670s, and for inventing a system that he claimed would enable even those without practical experience of music to learn to compose in a short time by means of 'a few easy, certain, and perfect Rules'-his most famous composition pupil being Samuel Pepys in 1662. His great aim was to publish a treatise on music in its philosophical, mathematical and practical aspects (which would have included a definitive summary of his rules of composition), entitled Syntagma music Subscriptions for this book were invited in 1672-3, and it was due to be published by March 1675; but it never appeared, and no final manuscript of it survives. Consequently knowledge about his work has hitherto remained extremely sketchy. Recent research, however, has brought to light a number of manuscripts which allow us at last to form a more complete view of Birchensha's ideas. Almost none of this material has been previously published. The new items include an autograph treatise of c.1664 ('A Compendious Discourse of the Principles of the Practicall & Mathematicall Partes of Musick') which Birchensha presented to the natural philosopher Robert Boyle, and which covers concisely much of the ground that he intended to cover in Syntagma musica detailed synopsis for Syntagma musichich he prepared for a meeting of the Royal Society in February 1676; and an autograph notebook (now in Brussels) containing his six rules of composition with music examples, presumably written for a pupil. Bringing all this material together in a single volume will allow scholars to see how Birchensha's rules and theories developed over a period of fifteen years, and to gain at least a flavour of the lost Syntagma music
Author : James E. Matthew
Publisher : Unknown
Page : 296 pages
File Size : 48,8 Mb
Release : 1896
Category : Music
ISBN : UOM:39015065671649
Author : Alan Howard
Publisher : Cambridge University Press
Page : 315 pages
File Size : 45,9 Mb
Release : 2019-10-17
Category : Music
ISBN : 9781107006669
The first major study to propose an analytical approach to Purcell's music beginning from contemporary compositional aims and techniques.
Author : David Cram
Publisher : Routledge
Page : 254 pages
File Size : 48,8 Mb
Release : 2017-07-05
Category : Music
ISBN : 9781351561495
John Wallis (1616-1703), was one of the foremost British mathematicians of the seventeenth century, and is also remembered for his important writings on grammar and logic. An interest in music theory led him to produce translations into Latin of three ancient Greek texts - those of Ptolemy, Porphyry and Bryennius - and involved him in discussions with Henry Oldenburg, the Secretary of the Royal Society, Thomas Salmon and other individuals as his ideas developed. The texts presented in this volume cover the relationship of ancient and modern tuning theory, the building of organs, the phenomena of resonance, and other musical topics.
Author : H.F. Cohen
Publisher : Springer Science & Business Media
Page : 324 pages
File Size : 54,9 Mb
Release : 2013-11-11
Category : History
ISBN : 9789401576864
The soul rejoices in perceiving harmonious sound; when the sound is not harmonious it is grieved. From these affects of the soul are derived the name of consonances for the harmonic proportions, and the name of dissonances for the unharmonic proportions. When to this is added the other harmonie proportion whieh consists of the longer or shorter duration of musical sound, then the soul stirs the body to jumping dance, the tongue to inspired speech, according to the same laws. The artisans accommodate to these harmonies the blows of their hammers, the soldiers their pace. As long as the harmonies endure, everything is alive; everything stiffens, when they are disturbed.! Thus the German astronomer, Johannes Kepler, evokes the power of music. Where does this power come from? What properties of music enable it to stir up emotions which may go far beyond just feeling generally pleased, and which may express themselves, for instance, in weeping; in laughing; in trembling over the whole body; in a marked acceleration of breathing and heartbeat; in participating in the rhythm with the head, the hands, the arms, and the feet? From the beginning of musical theory the answer to this question has been sought in two different directions.