The traditional interpretation-that music is merely a wholesome pastime whose affective power is produced by the texts of songs-has gone wrong by inadequate attention to Aristotle’s precise terminology, by inattention to the critical passage that links music to the virtue of judgment, and by the failure to consider the full structure of Aristotle’s argument. Despite the excellence of this philosophy, it has gone unrecognized for centuries because of persistent misunderstanding and misinterpretation. He argues that music through its affective power of producing emotions acts to develop the intellectual virtue of judgment and through it the various moral virtues that depend on good judgment. In his Politics Aristotle articulates a superb philosophy of music education, demonstrating that education in music is vital for developing virtues that contribute to the individual’s emotional health and to society’s stability. Aristotle on Music Education and AdvocacyĬhapter 1 - Chapter 2 - Chapter 3 - Chapter 4 The method that Antolini proposes is a mixture of a forthright effort to establish a logical practice with outdated elements from the past. The central preoccupation of the books is to teach composers literally "how to write" for these instruments at a time when the nature of "transposing" instruments was not well understood. The book, contrary to its name, is not exclusively limited to the clarinet but also deals with other instruments, both common and uncommon, even the horns and trumpets from the brass family. As such, it provides insights into real-life situations that typical college music history texts cannot match. Antolini's ideas are for that reason a rather peculiar mixture of the conservative and the progressive. Published in 1813, Antolini's book gives many insights into the state of music and especially musical instruments at a time when the technological development of the latter was "exploding." One of the most interesting aspects of the book is its "liminal" status, standing as it does in the threshold between older traditions and new development. The work goes beyond its somewhat limited title and covers not only the manners of “foundational” or continuo playing but also discusses “ornamental” or the practice of playing melodic instruments in ensemble together with voices Antolini, Retta Maniera di Scivere per il Clarinetto (1813) His book, published in 1607, is amazingly informative, especially considering its extreme brevity, and his approach to instrumentation appears substantially supported by surviving musical sources. Concerning Playing on the Bass (1607)Īgostino Agazzari (ca.1580-1642) was a well-respected composer and theorist born in Siena. ![]() It is the intention that the offerings will expand over time.Įarly Instrumental Performance Individual Texts, including those in special series Agazzari, Agostino. Many are considered seminal in their particular area. Many of the texts appear here for the first time in English translation, some in any language other than the original, so far as the translator(s) could determine. The purpose of this series is to provide translations of important texts relating to historical performance for those individuals with either practical performance or scholarly interests.
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