Johannes Kepler wrote in 1619: “the movements of the heavens are nothing except a certain everlasting polyphony (intelligible, not audible) with dissonant tunings, like certain syncopations or cadences (wherewith men imitate these natural dissonances), which tends towards fixed and prescribed . . . . Continue Reading »
Levine again: The German pianist Hans von Bulow toured the US in 1876. At one location, he was preceded by Emma Thursby who sant Schubert and Schumann, and then a popular song by Franz Abt: “Von Bulow’s ‘rage knew no bound’ at this ‘desecration’ of a program . . . . Continue Reading »
A couple of interesting lectures on Music and Theology in the Christian Systematic Theology group of AAR. Nick Adams offered a very detailed and technical discussion of Messiaen’s Messe de la Pentecote in order to explore some issues in doctrinal change and continuity. He noted that Messiaen . . . . Continue Reading »
Ian McEwan’s Saturday is from one angle a novelization of Arnold’s “Dover Beach,” which also figures prominently (if improbably) into the plot. The book begins with neurosurgeon Henry Perowne looking out a window early on a February morning on a world where ignorant armies . . . . Continue Reading »
In his Teaching Company tapes on Bach and the Baroque (recommended), Robert Greenberg suggests an historical sequence that accounts for the development of German music: Music for singing, which in the period was largely church music, must take account of the language in which the music is sung. . . . . Continue Reading »
In a brief article in the August 6 TLS , Stephen Brown reflects on the influence of African music on the music of America and Europe. Until WWI, he writes, African music had little impact on the wider musical scene, but after the war “there was no popular music in the United State ?Ewith the . . . . Continue Reading »
Why music? Well, for instance: What I want my life to be is better expressed by a 2-minute segment the Canzona of Beethoven’s A minor string quartet than by any words I could ever speak or write, expressed all at once in multiple registers and nuances. To say it all would be to try to say . . . . Continue Reading »
I believe I first ran across Victor Zuckerkandl’s name in some of Colin Gunton’s work, and Jeremy Begbie makes significant use of Zuckerkandl in his book on theology and music. I’ve posted on Zuckerkandl before, but having now had a chance to read more of his book, Sound and . . . . Continue Reading »
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