Path: utzoo!attcan!uunet!tut.cis.ohio-state.edu!rutgers!njin!princeton!phoenix!eliot From: eliot@phoenix.Princeton.EDU (Eliot Handelman) Newsgroups: comp.music Subject: Re: Semantics of Music? Message-ID: <17032@phoenix.Princeton.EDU> Date: 6 Jun 90 18:58:06 GMT References: <136652@sun.Eng.Sun.COM> <2514@gmdzi.UUCP> <17030@phoenix.Princeton.EDU> Reply-To: eliot@phoenix.Princeton.EDU (Eliot Handelman) Organization: Princeton University, NJ Lines: 31 In article <17030@phoenix.Princeton.EDU> roger@phoenix.Princeton.EDU (Roger Lustig) writes: ;In article <2514@gmdzi.UUCP> icking@gmdzi.UUCP (Werner Icking) writes: ;>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? ;Not having read these, I can't say; but the issue of rhetoric-and-music ;in the Baroque (which I assume is Harnoncourt's topic) is a very ;dangerous one. I read the first book about 6 years ago (in German) and I can't remember a thing about it other than not having found it particularly compelling. Werner will have to refresh my memory. --eliot