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E-raamat: Andreas Werckmeister's Musicalische Paradoxal-Discourse: A Well-Tempered Universe

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  • Sari: Contextual Bach Studies
  • Ilmumisaeg: 22-Nov-2017
  • Kirjastus: Lexington Books
  • Keel: eng
  • ISBN-13: 9781498566353
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Andreas Werckmeister's Musicalische Paradoxal-Discourse: A Well-Tempered UniverseSuurem pilt
  • Formaat: PDF+DRM
  • Sari: Contextual Bach Studies
  • Ilmumisaeg: 22-Nov-2017
  • Kirjastus: Lexington Books
  • Keel: eng
  • ISBN-13: 9781498566353
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Andreas Werckmeister (1645 1706), a late seventeenth-century German Lutheran organist, composer, and music theorist, is the last great advocate and defender of the Great Tradition in music, with its assumptions that music is a divine gift to humanity, spiritually charged yet rationally accessible, the key being a complex of mathematical proportions which govern and are at the root of the entire universe and all which that embraces. Thus understood, music is the audible manifestation of the order of the universe, allowing glimpses, sound-bites of the very Creator of a well-tempered universe, and of our relationship to each other, our environment, and the divine powers which placed us here. This is the subject matter of the conversation which Werckmeister wishes to have with us, his readers, particularly in his last treatise, the Musicalische Paradoxal-Discourse. But he does not make it easy for todays readers. He assumes certain proficiencies from his readers, including detailed biblical knowledge, a fluency in Latin, and a familiarity with treatises and publications concerning music, theology, and a number of related disciplines. He writes in a rather archaic German, riddled with obscure references which require a thorough explanation. With its extensive commentary and translation of the treatise, this book seeks to bridge Werckmeisters world with that of the twenty-first century. Werckmeister wrote for novice and professional musicians alike, an author who wanted to consider with his readers the basic and existential questions and issues regarding the wondrous art of music, questions as relevant then as they are now.

Arvustused

In his last writing, Musicalische Paradoxal-Discourse (1707), Andreas Werckmeister, one of the great minds of musical aesthetics and theory, confronts a series of paradoxes at the interfaces between faith and reason, mind and body, speculation and experience. The author, himself, presents us, today, with a further paradox: he was one the last exponents of an ancient cosmological understanding of musica number-based conception in the tradition of Pythagoras and Platoyet he was also one of the first to advocate for major-minor tonality, equal temperament, and a notation system that would treat each of the twelve pitch classes and all enharmonically equivalent intervals in a like manner. Dietrich Bartels translation renders Werckmeisters notoriously difficult and often obscure German in clear and precise English, making it truly accessible to an international readership for the first time. Bartels magisterial introduction places this publication an illuminating context, and traces, with precision and nuance, the evolution of Werckmeisters thinking about temperament. -- John Walter Hill, professor emeritus, University of Illinois, Urbana-Champaign

Table of Contents
Series Editors Foreword
Preface
Part I
Introduction to the Musicalische Paradoxal-Discourse
Werckmeister Biography
Werckmeister Treatises
Contents and Sources of the Musicalische Paradoxal-Discourse

Part II Translation of the Musicalische Paradoxal-Discourse
Title page and dedicatory comments
Preface
Index and contents of the chapters
Chapter 1 An introduction to this work: the division of the musical
proportions
Chapter 2 A testimonial through mathematics and Holy Scriptures themselves,
that the course of the heavens are harmonic
Chapter 3 How the mortal body and soul are harmonically created, and
furthermore, on the influence of the stars
Chapter 4 Why humans find such pleasure in music, and whence composers and
musicians arise
Chapter 5 As the image of God, humans are to praise the Creator with music.
Buildings and eras in scripture are also harmonic wonders of spiritual
music.
Chapter 6 On the abuse of music, which the authorities could abolish
Chapter 7 How the inclination of a people determines its attitude towards
music, and how the heathens were so scattered in their views on music
Chapter 8 On the music of the early Christians, and the subsequent changes
Chapter 9 The great difficulties arising out of solmization and the linear
staff-system
Chapter 10 Proof that the linear staff system is accompanied by great
difficulties
Chapter 11 Proof of how everything can be played or sung through the twelve
note-names
Chapter 12 Further proof, that the linear staff system has many more variants
than the twelve note-names
Chapter 13 How the temperaments can be examined, and on German tablature
Chapter 14 How the chromatic system is to be applied to the tempered
keyboard
Chapter 15 On the disorder of hymn singing
Chapter 16 On the simplicity of old organs
Chapter 17 How the musical modes can be differentiated
Chapter 18 On the nature and property of the harmonic numerals
Chapter 19 On the hidden meaning of the numerals
Chapter 20 On the properties of the harmonic numerals, when they themselves
are subdivided
Chapter 21 On the subdivision of the harmonic numerals
Chapter 22 On the properties of the dissonant musical numerals
Chapter 23 How the harmonic radical numerals are transformed into a tempered
tuning, and of their hidden meaning
Chapter 24 A comparison of incorrect tempered tuning with false Christianity
Chapter 25 How the temperament can be perfect or imperfect, and how the same
can be compared with Christianity
Chapter 26 The Lords Prayer in the musical proportional numerals
Bibliography
About the author
Dietrich Bartel is associate professor of music at Canadian Mennonite University.
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