Notes
- “Rousseau … claimed that the origins of music were neither word nor tone but song, by which he meant accented declamation, the original cry of passion of primitive man”. The New Grove Dictionary of Music and Musicians, s.v. “Rousseau, Jean-Jacques” Heartz Daniel Macmillan London 1980
- Sachs , Curt . 1943 . The Rise of Music in the Ancient World , 21 – 21 . New York : W.W. Norton & Co. .
- One useful study that makes an effort beyond pure speculation is Bowra Cecil M. Primitive Song World Publishing Co. Cleveland and New York 1962 This study takes the evidence of socioeconomic groups still living in conditions that approximate to the Paleolithic.
- In a recent article Thomas J. Mathiesen tells us that there are now known forty-one fragments of ancient Greek music. See Mathiesen Thomas J. New Fragments of Ancient Greek Music Acta Musicologia 1981 53 32 32
- Plato . 1950 . Republic in Source Readings in Music History , Edited by: Strunk , Oliver . 7 – 7 . New York : W.W. Norton & Co. .
- Plato . 1950 . Republic in Source Readings in Music History , Edited by: Strunk , Oliver . 7 – 7 . New York : W.W. Norton & Co. .
- Plato . 1950 . Republic in Source Readings in Music History , Edited by: Strunk , Oliver . 6 – 6 . New York : W.W. Norton & Co. .
- See Mathiesen New Fragments of Ancient Greek Music 16f 16f
- Sachs . The Rise of Music 260 – 260 .
- Palisca , Claude V. , ed. 1978 . Hucbald, Guido, and John on Music , 72 – 72 . New Haven and London : Yale University Press . trans. Warren Babb
- Palisca , Claude V. , ed. 1978 . Hucbald, Guido, and John on Music , 137 – 137 . New Haven and London : Yale University Press . trans. Warren Babb
- Richard H. Hoppin, for example, suggests that the compositional procedure known as centonization (the construction of new chants from pre-existing melodic figures) precludes any close association of music and text. However, he does not dismiss the potential for the chant to be taken as “a musical embodiment of the spiritual values inherent in the various acts of collective worship that make up the liturgy of the church.” Hoppin Richard H. Medieval Music W.W. Norton & Co. New York 1978 91 91
- Zarlino . “ Istituzioni armoniche ” . In Source Readings Edited by: Strunk . 258 – 258 . Bk. 4, in
- Zarlino . “ Istituzioni armoniche ” . In Source Readings Edited by: Strunk . 258 – 258 . Bk. 4, in
- Zarlino . “ Istituzioni armoniche ” . In Source Readings Edited by: Strunk . 258 – 258 . Bk. 4, in
- Zarlino . “ Istituzioni armoniche ” . In Source Readings Edited by: Strunk . 257 – 257 . Bk. 4, in
- Galilei , Vincenzo . “ Dialogo della musica antica e della moderna ” . In Source Readings Edited by: Strunk . 316 – 316 . in
- Galilei , Vincenzo . “ Dialogo della musica antica e della moderna ” . In Source Readings Edited by: Strunk . 312 – 313 . in
- Monteverdi , Claudio . “ Il quinto libro de madrigali ” . In Source Readings Edited by: Strunk . 408 – 409 . in
- Monteverdi , Claudio . “ Il quinto libro de madrigali ” . In Source Readings Edited by: Strunk . 412 – 412 . in
- Mattheson , Johannes . 1739 . Der Vollkommene Kapellmeister Hamburg part I, ch. 10, para. 63
- von Gluck , Christoph W. “ Preface to Alceste ” . In Source Readings Edited by: Strunk . 674 – 674 . in
- Reichardt , J.F. 1971 . Poem and Music in the German Lied from Gluck to Hugo Wolf , 34 – 34 . Cambridge, Mass. : Harvard University Press . cited by Jack M. Stein
- Goethe . May 1820 . Poem and Music in the German Lied Edited by: Stein . May , 41 – 42 . a letter of 2 in
- Goethe . May 1820 . Poem and Music in the German Lied Edited by: Stein . May , 41 – 42 . a letter of 2 in
- Schopenhauer , Arthur . 1960 . “ The World as Will and Representation ” . In Richard Wagner and the Synthesis of the Arts , 150 – 150 . Detroit : Wayne State University Press . cited by Jack M. Stein
- Liszt , Franz . 1947 . “ Music in the Romantic Era ” . In Dent Volumes on the History of Music , 24 – 24 . London : J.M. Dent & Sons . cited by Alfred Einstein
- Read , Herbert . 1976 . Modernism , 20 – 20 . Harmondsworth, , Middlesex, England : Penguin Books . cited by Malcolm Bradbury and James McFarlane in Pelican Guides to European Literature
- Verlaine , Paul . 1962 . “ Art Poétique ” . In Oeuvres Complètes , 326 – 326 . Paris : Editions Gallimard . in comp. Y.-G. le Dantec and Jacques Borel
- Schwitters , Kurt . 1965 . “ Logically consistent poetry ” . In Dada: Art and Anti-art , 147 – 147 . London : Thames and Hudson . written in 1923 as a contribution to Hans Richter's periodical G and cited by the latter in his book trans. David Britt
- Van Doesburg , Theo . 1976 . “Concrete” Poetry from East and West Germany: The Languages of Exemplarism and Experimentalism , 44 – 45 . New Haven and London : Yale University Press . cited by Liselotte Gumpel in
- Zurbrugg , Nicholas . 1982 . “ Marinetti, Boccioni, and Electro-acoustic Poetry: Futurism and After ” . In Comparative Criticism: A Yearbook 4 , 198 – 199 . Cambridge : Cambridge University Press .
- Cage , John . 1971 . Silence , 3 – 3 . London : Calder & Boyars .
- Lessem , Alan P. 1973 . Music and Text in the Works of Arnold Schoenberg: The Critical Years , 274 – 274 . University of Illinois at Champaign-Urbana . Ph.D. dissertation
- Dreyer , Martin . 1974/5 . Pierrot's Voice: New Monody or Old Prosody? . Contact , 10 : 15 – 15 . (Winter
- The Shorter Oxford English Dictionary , 3rd. ed. x – x .
- The differentiation of dialect and accent is a subtle one. Smith Neil Wilson Dierdre Modern Linguistics: The Result of Chomsky's Revolution Penguin Books London 1978 196 196 in tell us that a “dialect is usually defined as a geographically or socially based variant of a language, having particular linguistic idiosyncracies.” Warning us against an ethnocentric or class-centred attitude they remind us that “… standard language is merely one dialect among many” (ibid., p. 247). Anthony Burgess argues that for a style of speech to be considered as a dialect rather than an accent there must be both phonological and morphological variations on the standard form: “An accent is a set of sounds peculiar to a region, as opposed to a dialect, which covers, in addition to peculiarities of sound, peculiarities of grammar and vocabulary.” Anthony Burgess, Language Made Plain (London: Fontana/Collins, 1964), p. 15.
- e.e. cummings, selected poems 1923–58 Faber and Faber London 1960 52 52
- Fisher , Roy . 1978 . “ Paraphrases ” . In The Thing about Joe Sullivan: Poems 1971–77 , 65 – 65 . Manchester : Carcanet .
- Centre and absence is a term widely used by Pierre Boulez to describe a situation in which a text is at the centre of the creative process, but may not be audible for a variety of reasons. See Sound and Word: Notes of an Apprenticeship Alfred A. Knopf New York 1968 55 55
- This important form of mimetic relation possibly requires a word of explanation as its operation may not be immediately clear. A good example of it is to be found in Boulez's e.e. cummings ist der dichter Universal Edition London 1967 in which the typography of the text is taken as the focus of mimesis. The typography of cummings' “birds (here inven/” has as its basic means an interplay of print and page. Boulez makes from this duality two morphological components. He creates a contrast between sustained sound (background) and short interjections (foreground). These components are combined in three ways. They are superimposed so that continuous sound provided by one group becomes the background for interjections of foreground of another group. They are combined in successive opposition, here the components are isolated from each other and contrasted successively. A third technique combines the techniques of superimposition and successive opposition in a polymorphic manipulation. This is a multiple procedure in which the origin of the morphological components may no longer be recognizable. The latter technique falls most clearly in the category of displaced mimesis — a musical element being derived from the text but no longer being clearly audible. The three techniques of combining the morphological components were first identified by Iwanka Stoianowa, “Verbe, son et silence”, Musique en jeu 16 (November 1974), p. 79–102.
- A poetic statement of this philosophy is found in John Cage's “2 Pages, 122 Words on Music and Dance” of 1957, Silence, p. 96: further discussion of Cage's collaboration with Merce Cunningham may be found in Stephanie Jordan's article, Freedom from the Music: Cunningham, Cage and Collaborations Contact 1979 20 16 19 Autumn
- “The Saussurian dichotomy signifier/signified found itself overturned, because the signifier is no longer a given … but an object constructed by the seeker”. Nattiez Jean-Jacques Fondements d'une sémiologie de la musique Union Générale d'Editions Paris 1975 128 128
- However, as David Crystal and Randolph Quirk point out, the labelling of psychological states implied by paralinguistic gesture is not simple. The so-called “imitation labels” can give a “delusive sharpness to impressions which are highly subjective and only weakly susceptible of corroboration. Moreover, they carry the fundamentally undesirable implication that the relationship between a given vocal qualifier and its context is in a one-to-one relation, when in fact it is in a one-to-many (or many-to-one) relation”. Crystal David Quirk Randolph Systems of Prosodic and Paralinguistic Features in English Mouton and Co. The Hague 1964 22 22 This is a criticism to which Istvan Anhalt's analysis of Berio's Sequenza III lies open. See Istvan Anhalt, “Luciano Berio's Sequenza III”, Canada Musical 7 (Fall-Winter, 1973), p. 23–60.
- Classification and description of paralinguistic sounds was attempted by Crystal and Quirk in Systems of Prosodic and Paralinguistic Features in English (1964). However, in a more recent study Crystal commented that “there are a number of theoretical and methodological issues relevant to paralinguistic analysis which have hardly begun to be studied. Of particular importance is the need to develop a more sophisticated phonetic framework for the description of paralinguistic effects …” Crystal David The English Tone of Voice Edward Arnold Bristol 1975 61 61
- See Wishart Trevor Book of Lost Voices Trevor Wishart York 1979 which catalogues techniques of production that are extensions of normal phonetic production.
- Stacey , Peter . Contemporary Tendencies in the Relationship of Music and Text with Special Reference to Pli selon pli (Boulez) and Laborintus II (Berio) , New York : Garland Publishing Inc. . forthcoming