Music and Language: The Rise of Western Music as Exemplified in Settings of the MAssIn a time of ever-increasing specialisation this work focuses on the broader aspects of Western music, seeking to view its history as a whole and to probe its relationship to other aspects of Western cultural thought. Its basic point of departure is the author's concern with that main aspect of language which is also shared by music, namely rhythm. As a native of Greece Georgiades was struck by the fundamental differences in rhythmic structure between the languages of the ancient world, Greek and Latin, on the one hand and those of the modern Western world on the other and by the resulting differences in the demands thus placed on music. Here is a totally unique approach to the history of music, one which is equally far removed both from the bare factual account and from the broad survey or integrated arts view of the discipline. In its combination of close attention to detail with an unwavering awareness of the significance of the whole it reveals many new relationships and interdependencies which should be of interest to all those concerned with the history of Western intellectual-cultural thought, both in music and in other disciplines. |
Contents
Introduction | 1 |
Antiquity and the PreCarolingian Period | 3 |
The Carolingian Period | 14 |
The High Middle Ages | 24 |
The Fourteenth and Fifteenth Centuries | 32 |
Palestrina | 40 |
Monteverdi | 46 |
The German Language and Music | 49 |
Instrumental Music and J S Bach | 66 |
The Viennese Classical Masters | 84 |
Stages of Musical Reality | 96 |
The Romantic Era | 115 |
The Present | 120 |
Music as History | 126 |
Notes | 135 |
Schütz | 58 |
Other editions - View all
Music and Language: The Rise of Western Music as Exemplified in Settings of ... Thrysabulos Georgiades No preview available - 1983 |
Common terms and phrases
accented action activity Ages appears approach aspect Bach became become beginning cantus firmus century chant chapter character characteristic Christian church close combination completely composers composition concept concern connected continuity created Credo determined earlier element emergence employed event example expression fact forces formation fourth further German German language given Greek Gregorian chant hand human idea important independent individual inner instrumental interpretation kind Kyrie language Latin lies linguistic liturgical longer manner Mass meaning measure melody movement musical setting namely natural observed original ornamentation Palestrina particular passage performance period phrase polyphony possible present prose question reality realization relationship reminds represents result rhythm rhythmic Schütz sense separate significance single sonorities sound speaking specific stage structure syllables taken technique third tone tradition understand unit unity valid verse Viennese classical vocal voices Western whole