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Education » Literary
Sound Knowledge: Music and Science in London, 1789-1851 screenshot
English | 256 pages | University of Chicago Press | 2017 022640207X | PDF | 7 MB
What does it mean to hear scientifically? What does it mean to see musically? This volume uncovers a new side to the long nineteenth century in London, a hidden history in which virtuosic musical entertainment and scientific discovery intersected in remarkable ways.

Sound Knowledge examines how scientific truth was accrued by means of visual and aural experience, and, in turn, how musical knowledge was located in relation to empirical scientific practice. James Q. Davies and Ellen Lockhart gather work by leading scholars to explore a crucial sixty-year period, beginning with Charles Burney’s ambitious General History of Music, a four-volume study of music around the globe, and extending to the Great Exhibition of 1851, where musical instruments were assembled alongside the technologies of science and industry in the immense glass-encased collections of the Crystal Palace. Importantly, as the contributions show, both the power of science and the power of music relied on performance, spectacle, and experiment. Ultimately, this volume sets the stage for a new picture of modern disciplinarity, shining light on an era before the division of aural and visual knowledge.

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Chronology of musical thought.

Forget Egypt and Greece, even the "Greek modes" and scales, just have the name given by the Italians, but there's nothing about ancient Greece.
Firts of all, do not confuse Gregorian Chant with ancient Greece, this confusion is more latent for those who speak one of the 8 petals of the most important flower in the West, "the Latin Language". This name comes from Pope Gregory, has no relation to the Greece or Greeks.

After all the splendid formatting created and invented by the Flanders people in what is now Holland, due to the aesthetic nobility of the ITALIANS who contributed with the names of the notes and formatting of the scales that we still use today from jazz to pop music.
ITALIANS who even created THE OPERA and made all types of music, like the simplicity of Vivaldi who didn't use counterpoint in most of his music, but don't forget the Venice school, who invented the stereophonic isound.

The French excellence of first formatting of poliphonic voice combinations discovered by Leonin and Perotin, which came to be used as a model by the Englishman composer Dunstable, and not forgetting that it was 'Jean-Philippe Rameau' who discovered that the chords only inverted, but that deep down they were the same thing.

And 'J.S. Bach' in Germany in the 17th century, Bach being the exception to everything, but before him, in the Germany of tiny states, the idea of COUNTERPOINT and FUGUE were already ready, Pachelbel, Buxtehude etc.

Without forgetting other nations that in addition to the Germans Schumann and Mendelssohn, the Polish Chopin appears out of nowhere like a bolt of lightning in France and Liszt from Hungary who never learned to speak a word in Hungarian.

Until it culminated in Austrian excellence in the 18th century with the holy German triarchy of Haydn, Mozart and Beethoven, which had Dutch and German origins, who rejected Germany and I didn't want to stay in Germany at all.

The 19th century culminating with the neoclasscic pure german composer Brahms. All this with the remnants of the confusion caused by the Romans and Hadrian's wall that only promoted disunity, and the lack of organization as a country.

Well, according to anthropology, as far as music is concerned, while the world was still swinging on tree branches, "The 5", Flanders today, Holland, Italy, France, Austria and Germany, created everything that is still being used today.

Let's see on this book, what the British did after...

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