By Stuart Isacoff
Few track fanatics discover that the association of notes on today's pianos was considered as a criminal offense opposed to God and nature, or that such mythical thinkers as Pythagoras, Plato, da Vinci, Galileo, Kepler, Descartes, Newton and Rousseau performed a task within the controversy. certainly, from the time of the traditional Greeks throughout the eras of Renaissance scientists and Enlightenment philosophers, the connection among the notes of the musical scale was once noticeable as a key to the very nature of the universe.
In this enticing and obtainable account, Stuart Isacoff leads us in the course of the battles over that scale, putting them within the context of quarrels within the worlds of artwork, philosophy, faith, politics and technological know-how. The contentious adoption of the fashionable tuning approach often called equivalent temperament known as into query ideals that had lasted approximately millenia--and additionally made attainable the song of Beethoven, Schubert, Chopin, Debussy, and all who undefined. packed with unique insights, attention-grabbing anecdotes, and images of a few of the best geniuses of all time, Temperament is that infrequent e-book that may pride the beginner and professional alike.
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Additional info for Temperament: How Music Became a Battleground for the Great Minds of Western Civilization
G. ZK,2002, 109–12; ZK, 2006, 124, 228–32. g. , 285f. 291–3; ZK 2006, 85, 119, 334–6; and passim in all. g. , 292f f. and passim; ZK, 2006, 167–78.
Goethe’s metaphorical references to music, in whatever form, do not have to correspond to contemporary musicological ‘truths’, or even to contemporary metaphor. But we do need an idea of where he diverged from ‘normal’ perspectives and traditions of the time, and especially where he is expanding or restricting our view of music in relation to the ‘norms’ of his time, or we shall not be able to form an accurate idea of how his musical references are meant to function in their context. cit. 43. 95 See esp.
Moreover, for this procedure to work it will be necessary to look first-hand not only at isolated phrases, but at sections of text long enough to show what the context was. This is tiresome insofar as it makes for multiple and full examples, and restricts the use of space-saving paraphrase. But only by this means are we able to see what conceptual metaphor is at work, what entailments it carries, and how such an instance compares with others. And after all it means that we are hearing the ‘jokes’, complete with punch-line, from the horse’s mouth.