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Author: Alexander Malcolm
Publisher:
ISBN:
Category : Music theory
Languages : en
Pages : 106
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Book Description
Author: Alexander Malcolm
Publisher:
ISBN:
Category : Music theory
Languages : en
Pages : 106
Get Book
Book Description
Author: Alexander Malcolm
Publisher:
ISBN:
Category : Music theory
Languages : en
Pages : 104
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Book Description
Author: Alexander Malcolm
Publisher:
ISBN:
Category : Music theory
Languages : en
Pages : 104
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Book Description
Author: Alexander Malcolm
Publisher: Theclassics.Us
ISBN: 9781230423647
Category :
Languages : en
Pages : 34
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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1779 edition. Excerpt: ... modes. them, as it was in them to plagal. Authentic, differ about it. The material %v(. 8w. point is, if we can sind it, to / A t know what they meant by (-- these distinctions, and what stth. ith, 4th. was the real use of them in '--" x--" music j but even here where g... c---g--c j-ey ought to have agreed, we a... d--a--d sincj tney differed. The best b e--b e account to be given of it is c--/--c--/ this: They considered that an i--g--d--g gve which wants a 4th or 5th, e--a t--a js impersect; these being the concords next to 8ve, the song ought to touch these chords most frequently and remarkably; and because their concord is different, which makes the melody different, they established by this two modes in every natural octave, that had a true 4th and 5th: then if the long was carried as far as the octave above, it was called a persect mode; if less, as to the 4th or 5th, it was impersect; if it moved both above and below, it was called a mixt mode: thus some authors speak about these modes. Others considering how indispenfable a chord the 5th is in every mode, they took for the sinal or key-note in the arithmetically divided octaves, not the lowest chord of that octave, but that very 4th; for example, the octave g is arithmetically divided thus, g-c. g, c is a 4th above the lower g, and a 5th below the upper g, this c therefore they made the sinal chord of the mode, which therefore properly speaking is c and not g; the only difference then in this method, between the authentic and plagal modes is, that the authentic goes above its sinal to the octave, the other ascends a 5th, and descends a 4th, which will indeed be attended with different effects, but the mode is essentially the fame, having the fame sinal to which all...
Author: Alexander Malcolm
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 650
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Author: Alexander Malcolm
Publisher:
ISBN: 9780598719829
Category : Music theory
Languages : en
Pages : 0
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Author: Alexander Malcolm
Publisher: Forgotten Books
ISBN: 9780332458960
Category : Music
Languages : en
Pages : 634
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Book Description
Excerpt from A Treatise of Musick: Speculative, Practical, and Historical Silent, anon, we fink, reiign 'd m Grief But 'ere our yielding Pa lions quite fubfide, Some fwelling Note calls back the ebbing Tide, And lifts Us to Relief. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author: Maria Semi
Publisher: Routledge
ISBN: 1317092201
Category : Music
Languages : en
Pages : 196
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Book Description
Music as a Science of Mankind offers a philosophical and historical perspective on the intellectual representation of music in British eighteenth-century culture. From the field of natural philosophy, involving the science of sounds and acoustics, to the realm of imagination, involving resounding music and art, the branches of modern culture that were involved in the intellectual tradition of the science of music proved to be variously appealing to men of letters. Among these, a particularly rich field of investigation was the British philosophy of the mind and of human understanding, developed between the seventeenth and eighteenth centuries, which looked at music and found in its realm a way of understanding human experience. Focussing on the world of sensation - trying to describe how the human mind could develop ideas and emotions by its means - philosophers and physicians often took their cases from art's products, be it music (sounds), painting (colours) or poetry (words as signs of sound conveying a meaning), thus looking at art from a particular point of view: that of the perceiving mind. The relationship between music and the philosophies of mind is presented here as a significant part of the construction of a Science of Man: a huge and impressive 'project' involving both the study of man's nature, to which - in David Hume's words - 'all sciences have a relation', and the creation of an ideal of what Man should be. Maria Semi sheds light on how these reflections moved towards a Science of Music: a complex and articulated vision of the discipline that was later to be known as 'musicology'; or Musikwissenschaft.
Author: Dr Maria Semi
Publisher: Ashgate Publishing, Ltd.
ISBN: 1409495167
Category : Music
Languages : en
Pages : 208
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Book Description
Music as a Science of Mankind offers a philosophical and historical perspective on the intellectual representation of music in British eighteenth-century culture. From the field of natural philosophy, involving the science of sounds and acoustics, to the realm of imagination, involving resounding music and art, the branches of modern culture that were involved in the intellectual tradition of the science of music proved to be variously appealing to men of letters. Among these, a particularly rich field of investigation was the British philosophy of the mind and of human understanding, developed between the seventeenth and eighteenth centuries, which looked at music and found in its realm a way of understanding human experience. Focussing on the world of sensation – trying to describe how the human mind could develop ideas and emotions by its means – philosophers and physicians often took their cases from art's products, be it music (sounds), painting (colours) or poetry (words as signs of sound conveying a meaning), thus looking at art from a particular point of view: that of the perceiving mind. The relationship between music and the philosophies of mind is presented here as a significant part of the construction of a Science of Man: a huge and impressive 'project' involving both the study of man's nature, to which – in David Hume's words – 'all sciences have a relation', and the creation of an ideal of what Man should be. Maria Semi sheds light on how these reflections moved towards a Science of Music: a complex and articulated vision of the discipline that was later to be known as 'musicology'; or Musikwissenschaft.
Author:
Publisher:
ISBN:
Category : Great Britain
Languages : en
Pages : 1278
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