Genesis of a Music (original) (raw)
Genesis of a Music is a book first published in 1949 by microtonal composer Harry Partch (1901–1974). Partch first presents a polemic against both equal temperament and the long history of stagnation in the teaching of music; according to Alex Ross, this is "the most startling forty-five-page history of music ever written". In particular, Partch holds Johann Sebastian Bach responsible for "the movement toward equal-tempered tuning, which meant that composers could not absorb the scales of other world traditions; and the urge to make music ever more instrumental and abstract."
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| dbo:abstract | Genesis of a Music is a book first published in 1949 by microtonal composer Harry Partch (1901–1974). Partch first presents a polemic against both equal temperament and the long history of stagnation in the teaching of music; according to Alex Ross, this is "the most startling forty-five-page history of music ever written". In particular, Partch holds Johann Sebastian Bach responsible for "the movement toward equal-tempered tuning, which meant that composers could not absorb the scales of other world traditions; and the urge to make music ever more instrumental and abstract." He then goes on to explain his tuning theory based on just intonation, the ensemble of musical instruments of his own invention (such as the "Surrogate Kithara, a struck-string, harplike instrument", and the guitar with movable frets he used to compose Barstow), and several of his largest musical compositions. The book has been highly influential to succeeding generations of microtonal composers, including Lou Harrison, Ben Johnston, and James Tenney. A revised and enlarged second edition was published just before Partch's death in 1974. (en) Genesis of a music (en français, Genèse d'une musique) est un ouvrage du compositeur américain Harry Partch, publié en 1949, puis dans une édition revue augmentée en 1974, l'année de sa mort. Mêlant des considérations d'histoire de la musique autour de l'intonation juste à des souvenirs personnels (de la réalisation d'instruments originaux à la création d'œuvres en public), Genesis of a music étudie les différentes gammes acoustiques développées depuis les Chinois sous le règne de l'empereur Shun, les anciens Égyptiens et les Grecs de l'école de Pythagore. L'ouvrage en propose une synthèse selon un ensemble de gammes fondées sur une division de l'octave en quarante-trois degrés microtonaux. Harry Partch développe également le concept de « corporéalité » opposé à l'idée de musique abstraite, représentée notamment par la soumission au tempérament égal à douze degrés, y compris dans la musique sérielle. (fr) |
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| rdfs:comment | Genesis of a Music is a book first published in 1949 by microtonal composer Harry Partch (1901–1974). Partch first presents a polemic against both equal temperament and the long history of stagnation in the teaching of music; according to Alex Ross, this is "the most startling forty-five-page history of music ever written". In particular, Partch holds Johann Sebastian Bach responsible for "the movement toward equal-tempered tuning, which meant that composers could not absorb the scales of other world traditions; and the urge to make music ever more instrumental and abstract." (en) Genesis of a music (en français, Genèse d'une musique) est un ouvrage du compositeur américain Harry Partch, publié en 1949, puis dans une édition revue augmentée en 1974, l'année de sa mort. Mêlant des considérations d'histoire de la musique autour de l'intonation juste à des souvenirs personnels (de la réalisation d'instruments originaux à la création d'œuvres en public), Genesis of a music étudie les différentes gammes acoustiques développées depuis les Chinois sous le règne de l'empereur Shun, les anciens Égyptiens et les Grecs de l'école de Pythagore. (fr) |
| rdfs:label | Genesis of a Music (en) Genesis of a Music (fr) |
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