Victor Zuckerkandl contrasts post-polyphonic Western music with Gregorian chant. In both there are longer and shorter tones in a succession in time. But in “our music,” another layer is added: “the succession also gives rise to the metrical wave, whose uniform pulsation is . . . . Continue Reading »
In a long and informative essay review in an October issue of TNR , Richard Taruskin explains the apparent crisis of classical music as a market correction. Between the early 1960s and 1987, lots of foundation and federal money flowed to composers and performers, inflating the numbers beyond what . . . . Continue Reading »
I am reading a portion of the text from 2 Corinthians 4. We have this treasure in earthen vessels, so that the surpassing greatness of the power will be of God and not from ourselves; we are afflicted in every way, but not crushed; perplexed, but not despairing; persecuted, but not forsaken; struck . . . . Continue Reading »
In his wonderful Musicophilia , Oliver Sacks describes a patient named Martin, who suffered meningitis at the age of three and was never mentally normal afterwards. He spent hours listening to operas and by the time Sacks met him in 1984, he claimed to have more than 2000 operates memorized, along . . . . Continue Reading »
In many cultures, music and dance go naturally together. Music moves the body, and so bodies move to the music. Not ours, or at least not in “high culture.” Patrick Shove writes, “Many twentieth-century composers focus on sound qualities or abstract tonal patterns, and performers . . . . Continue Reading »
Pierre Boulez’s total serialism depended, in the words of Jeremy Begbie, “on the rigorous organization of music through the use of strict mathematical patterns.” The results were, Begbie says, “extremely dull, indeed, some of the most tedious ever written.” Around the . . . . Continue Reading »
I’ve been listening all day to piano and orchestral music from several Chinese composers: Shande Ding, Yah-jun Hua, Wen-cheng Lu, Guang Ren, Bi-guang Tang, Lishan Wang, Jianer Zhu. They combine traditional Chinese music with Western forms, and are far more accessible than many contemporary . . . . Continue Reading »
In his book, Wiser than Despair , Quentin Faulkner traces the links between musical theory (musical speculation) and theological speculation. John Scotus Erigena’s views, for instance, were summarized by his pupil Regino of Prum, who wrote on music in a treatise on harmony, and the treatise . . . . Continue Reading »
In his biography of Bach, Martin Geck quotes a number of notes that Bach penned in the “Calov Bible,” a copy of Luther’s translation that belonged at one time to the theologian Abraham Calov. On Miriam and her singing women, he writes, “First prelude to be performed in two . . . . Continue Reading »
From a sermon by John Donne: “God made this whole world in such an uniformity, such a correspondency, such a concinnity of parts that it was an instrument, perfectly in tune: we may say, the trebles, the highest strings, were disordered first; the best understandings, angels and men, put this . . . . Continue Reading »
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