First published in 1959, this original study argues that the main characteristic of music is that it expresses and evokes emotion, and that all composers whose music has a tonal basis have used the same, or closely similar, melodic phrases, harmonies, and rhythms to affect the listener in the same ways. He supports this view with hundreds of musical examples, ranging from plainsong to Stravinsky, and contends that music is a language in the specific sense that we can identify idioms (...) and draw up a list of meanings. The book's final section analyzes two symphonies, Mozart's Fortieth and Vaughan Williams's Sixth, to explore the nature of musical inspiration and the process whereby the notes actually convey emotion from composer to listener. (shrink)

In their invocations of the Muses the early epic poets use indifferently verbs meaning ‘tell’, ‘speak of’ and the verb which we normally translate as ‘sing’ When they refer directly to their own performance they may use the non-committalμνήσομαι, or ἐρέω, ἐνισπεῖνbut more often it isάείδω, ἄρχομ ἀείδεινor something of the sort; and they will pray for goodἀοιδήor hope for reward from it. We cannot make a distinction between two styles of performance, one characterized asἀείδειν the other as ἐνέπεινthe Iliad (...) beginsμῆνιν ἄειδε θεάbut later hasἔσπετε νῦν μοι Μοῦσαι;Hesiod moves straight fromχαίρετε τέκνα Διός, δότε δ᾿ ἱμερόεσσαν ἀοιδήνtoεἴπατε δ᾿ ὡς... ταῦτά μοι ἔσπετε Μοῦσαι... καὶ εἴπατε; the author of the Hymn to Pan beginsἔννεπε Μοῦσαand endsἴλαμαι δέ σ᾿ ἀοιδῇ... καὶ σεῖο καὶ ἄλλης μνήσομ᾿ ἀοιδῆς. (shrink)

This book endeavours to pinpoint the relations between musical, and especially instrumental, practice and the evolving conceptions of pitch systems. It traces the development of ancient melodic notation from reconstructed origins, through various adaptations necessitated by changing musical styles and newly invented instruments, to its final canonical form. It thus emerges how closely ancient harmonic theory depended on the culturally dominant instruments, the lyre and the aulos. These threads are followed down to late antiquity, when details recorded by Ptolemy permit (...) an exceptionally clear view. Dr Hagel discusses the textual and pictorial evidence, introducing mathematical approaches wherever feasible, but also contributes to the interpretation of instruments in the archaeological record and occasionally is able to outline the general features of instruments not directly attested. The book will be indispensable to all those interested in Greek music, technology and performance culture and the general history of musicology. (shrink)

What was the role of music in the evolutionary history of human beings? We address this question from the point of view that musicality can be defined as a cognitive trait. Although it has been argued that we will never know how cognitive traits evolved (Lewontin, 1998), we argue that we may know the evolution of music by investigating the fundamental cognitive mechanisms of musicality, for example, relative pitch, tonal encoding of pitch, and beat induction. In addition, we show that (...) a nomological network of evidence (Schmitt & Pilcher, 2004) can be built around the hypothesis that musicality is a cognitive adaptation. Within this network, different modes of evidence are gathered to support a specific evolutionary hypothesis. We show that the combination of psychological, medical, physiological, genetic, phylogenetic, hunter–gatherer, and cross-cultural evidence indicates that musicality is a cognitive adaptation. (shrink)

Includes bibliographical references (p. [271]-285) and index.

Visual (facial), tactile, and gestural, as well as vocal, elements of mother-infant interactions are each formalizations, repetitions, exaggerations, and elaborations of ordinary adult communicative signals of affiliation – suggesting ritualization. They are temporally organized and enable emotional coordination of the interacting pair. This larger view of motherese supports Falk's claim that the social-emotional elements of language are primary and suggests that language and music have common evolutionary foundations.