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We cannot all speak the same tongue, but we can understand the emotions a song is telling us.
"But that music is a language by whose means messages are elaborated, that such messages can be understood by the many but sent out only by the few, and that it alone among all language unites the contradictory character of being at once intelligible and untranslatable—these facts make the creator of music a being like the gods and make music itself the supreme mystery of human knowledge."
In Europe and North America, there was a divide between what types of music were viewed as "high culture" and "low culture." "High culture" included Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly.
[186] [187] Early medieval music used the tritone in Gregorian chant for certain modes. [188] Guido of Arezzo (c. 991 – c. 1033) was the first theorist to discourage the interval. [188] Mozart did not die from poisoning, and was not poisoned by his colleague Antonio Salieri or anyone else. [189]
A definition of music endeavors to give an accurate and concise explanation of music's basic attributes or essential nature and it involves a process of defining what is meant by the term music. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, and there is ongoing debate.
Nettl asserts that music is not the universal language, but types of music are not as mutually unintelligible as languages. One should study the music of each society in its own terms and learn it individually, referred to as music's dialects rather than music's languages.
Recognizable strands in the contemporary ideas on universal languages took form only in Early Modern Europe. In the early 17th century, some believed that a universal language would facilitate greater unity among mankind largely due to the subsequent spread of religion, specifically Christianity, as espoused in the works of Comenius.
Musica universalis—which had existed as a metaphysical concept since the time of the Greeks—was often taught in quadrivium, [8] and this intriguing connection between music and astronomy stimulated the imagination of Johannes Kepler as he devoted much of his time after publishing the Mysterium Cosmographicum (Mystery of the Cosmos), looking over tables and trying to fit the data to what he ...