Path: utzoo!attcan!uunet!cs.utexas.edu!usc!snorkelwacker!bloom-beacon!eru!luth!sunic!mcsun!unido!gmdzi!icking From: icking@gmdzi.UUCP (Werner Icking) Newsgroups: comp.music Subject: Re: Semantics of Music? Message-ID: <2514@gmdzi.UUCP> Date: 6 Jun 90 11:01:26 GMT References: <136652@sun.Eng.Sun.COM> Organization: GMD, Sankt Augustin, F. R. Germany Lines: 25 eliot handelman writes: >In article <2370@aipna.ed.ac.uk> geraint@aipna.ed.ac.uk (Geraint Wiggins) writes: >>In another article, Eliot Handelman writes >>> In article <2364@aipna.ed.ac.uk> geraint@ai.ed.ac.uk (Geraint Wiggins) writes: ... >>> The ball's in your hands. I say "X does not exist." The only counterexample >>> that I can think of would be "There is an X which does exist." That's >>> your position, not mine. >>Not really. It's up to BOTH sides of the argument to make a case. Maybe I've >>been missing out on the discussion, but I only saw a claim, not an example or >>counter example. >Fine. I'm unaware of semantics in Pithoprakta. Happy now? For BOTH sides it may be helpful to read Nikolaus Harnoncourt: Musik als Klangrede Nikolaus Harnoncourt: Musikalischer Dialog (both dtv/baerenreiter) The titles already state that - long long ago - making music meant deliver a speech or make conversation. This would be very difficult without semantics? I hope there is a translation of the two books - ask Roger -; otherwise for a non german-speaking reader it would be only noise without any semantics. -- Werner Icking icking@gmdzi.gmd.de (+49 2241) 14-2443 Gesellschaft fuer Mathematik und Datenverarbeitung mbH (GMD) Schloss Birlinghoven, P.O.Box 1240, D-5205 Sankt Augustin 1, FRGermany