By Daniel Chua
This ebook examines the highbrow background of instrumental song, specifically the belief of absolute track. It attempts to teach how definite rules in philosophy, theology and the sciences impact the which means and, certainly, the life of instrumental track, and the way, in flip, instrumental tune is used to unravel or exemplify sure difficulties in glossy tradition. rather than current in a natural and independent shape, track is woven again into the epistemological cloth and entangled with a number of discourses, therefore demonstrating the centrality of tune within the building of which means.
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Extra resources for Absolute Music and the Construction of Meaning (New Perspectives in Music History and Criticism)
5 The disenchantment of the world is therefore Puritanism secularised; instrumental reason is instrumentalised religion. If this is the case, then perhaps it is with the ascetic reformers, whom Luther himself 1 2 4 See the chapters in this volume ‘On God’, ‘On Conscious Life-forms’ and ‘On the Apocalypse’. Georg Wilhelm Friedrich Hegel, The Philosophy of History, trans. J. Sibree (New York: 3 Dover, 1956), 412–547. See Berger, The Heretical Imperative, 1–31, 56–8 and 128. Max Weber, The Protestant Work Ethic and the Spirit of Capitalism, trans.
Palisca, ‘The Alterati of Florence, Pioneers in the Theory of Dramatic Music’, in Austin, New Looks at Italian Opera, 9–11. The theories of the Camerata were not unique; however, I shall use the Florentine Camerata as a focus for the new theories of music discussed within the humanist circles of sixteenth-century Italy. Vincenzo Galilei, Dialogo della musica antica e della moderna (1581) in Strunk, Source Readings in Music History, 305. Much of Galilei’s argument here is taken from a letter he received in 1572 from Girolamo Mei; see Palisca, The Florentine Camerata, 45–77.
The dualism that started with the oscillations of vocal and instrumental textures in the prologue spawns a series of extreme fissures in the opera between joy and sadness, light and dark, Arcadia and Hades, gods and men, and it culminates in an unintentional dualism that is the impasse of the final act: there are two endings. And both of them are an undoing of the monodic self; either Orpheus flees from the Bacchantes or else he requires some deus ex machina (Apollo) to winch him out of the impotent interior of his monodic subjectivity.