The Wellsprings of Music

ISBN-13: 9789401504270 / Angielski / Miękka / 1962 / 228 str.

Curt Sachs; Jaap Kunst

Opis

typical mild "Sachsonian" humor and illustrated with a wealth of examples and evidence. I doubt whether any other of us ethnomusicologists would have been capable of writing such a comprehensive study: S~chs had at his fingertips a phenomenal amount of factual information. Sometimes, under his wise guidance, complicated propositions become surprisingly simple. The reader will be as fascinated as I was by the originality of some of his conelusions, captivated by his penetrating com- parisons, and charmed by his rich and expressive language. After having lived with this book for aperiod of some months, I realize a1l themore what the death of Curt Sachs means to the musicological world. "The Wellsprings of Music" forms a worthy elose to that long series of publications his boundless energy and unsurpassed knowledge have given uso I feel greatly indebted to Dr. Eric Werner, New York, for his decisive encouragement towards the publication of this work and for the active interest he took in it. I want also to express my gratitude to the musicologist Miss Marijke Charbon, The Hague, for having made an Index of N ames and for some useful suggestions. Amsterdam, 15th February 1960 JAAP KUNST My dear friend Jaap Kunst did not live to see this book in print. I wish to express my deep gratitude to him, whose dedi- cated help and unfailing and devoted interest made its publi- cation possible.

Spis treści

One / Thoughts and Methods.- I. Preliminaries.- II. The advent of the ethnomusicologist.- Theology and humanism as fundaments of earlier education — early music histories: Martini, Hawkins, Burney, Laborde, Forkel, Krause, Fétis, Hullah, Ambros — early non-historical sources: Rousseau and the romantics, Vil-lotteau, Jones, doctoral theses — beginnings of modern method with Ellis, Edison and Fewkes-Gilman-Stumpf — phonographic archives — change of name from comparative musicology to ethnomusicology..- III. The ethnomusicologist’s workshop.- Field work — phonograph, gramophone, tape — tone measurements — acoustical devices: forks, Tonmesser, tonometer, monochord — visual devices: oscilloscope, photophonography, stroboscope, electronic counter — editing — transcribing — logarithms and cents — savarts — Reiner’s music rule — notation..- IV. The question of origin.- Theories — tone languages — mouth music — drum languages etc. — absence of singing — prehistory — radio carbon method of dating — fluorine method — stone and metal ages — anthropology — culture changes — the “ savages ” — primitive and non-literate man — scriptless society and folk music — monogenism and polygenism — KuHurkreislehre — “ races ”..- Two / Early Music.- V. The oldest music: tumbling strains.- Major and minor — tumbling strains or stair melodies — high and low — domestication — triadic and tetradic octaves..- VI. The oldest music: one-step melodies.- Terminology — sharping the pitch — affixes and infixes — tetrachords — bare fifths and sixths — pathogenic and logogenic — meaningless syllables — burdens — glossolalia — repetitive style — flexa — ontological remarks — imitation and dramatization — animal dirges or epikkedia..- VII. Conservatism and magic.- Palaeolithic survivals — the fight of music and poetry- strict tradition — magic — charms against sickness, death and dearth — mana — unnatural singing — kazoos.- VIII. Vocal mannerisms.- Von Hornboste’s and Merriam’s descriptions — European, Asiatic, Australian, Polynesian, Melanesian, African styles — quilisma, pressus, plica — tessitura — proposed terminology — tempo and intensity — sense and value — aesthetical aspects.- IX. Instruments.- Literature — extensions — other rudiments — male and female — cosmology — connotations of the flute — of stinged instruments and jaw’s harp — conflicting connotations — bull roarer — gourd rattle — on the way to melody — finger holes — foot and inches — Blasquintentheorie — tuning of strings — isotony — tuning of xylophones — East African and Indonesian parallels — chimes — the lithophone of the Musée de l’Homme — panoramic view — Europe and Africa — early instrumental music — zanza.- X. Rhythm and form III.- General notions — rhythmic patterns — quintary rhythm — downbeat and upbeat — metric alteration — meter and time — additive meters — “ fascinating rhythm” — art and folk music — cycles — strictness and freedom — overall patterns — isorhythm — panoramic view — form — repetition — stimulus and narcotic medieval parallels: lai, estampie, lied, rondeau — antiphony and response — variation — zanza cyclic forms.- Three / On the Way.- Growth, personality, art.- Culture changes — musical criticism — musical contests — individualism and art — copyright.- Four / The Fate of Secondal and Tertial Patterns.- The widening nucleus — “ triadic and fanfare melodies” — tonal anatomy and physiology — chains — double, triple, quadruple, quintuple and sextuple thirds — skeletons and infixes — pentatonism and heptatonism — German chorale dialect — Landino third — four-line notation — six-five patterns — triadic octaves.- Five / The Fate of Quartal and Quintal Patterns.- Disjunction and conjunction — quartal chains — chains of fifths — hybrids — modulation — culture chance once more.- Six / Centric Melodies Gregorian tenor melodies — the concept of mesè.- Seven / Polyphony.- Vertical and horizontal — distribution — isochronous conductus — parallels — drones — grounds — alternation and canon — Stimmtausch- heterophony.- Eight / Cross- or Polyrhythm.- Independent accompaniment — hemiola — “ syncopation ” Afro-Indian concordances.- Nine / Professional Music and Musical Systems.- Semi-professionals and professionals — bards — minstrelsy — segregation and discrimination — professional waiters — musical vocabularies — pitch syllables — concomitant method of learning.- Ten / ‘Progress’?.- The fading theory of evolution — culture graft — progress — evidences against progress — our gain is our loss.- A note on Bibliography.- Index of Names.