Reading and Singing: On the Genesis of Occidental Music Writing

Treitler, Leo

doi:10.1093/acprof:oso/9780199214761.003.0014

Cited by 5 publications

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“…Solmization originated during the rise of musical literacy in the Carolingian era, as musical literacy necessitated a way to teach it. In around 795 CE, Charlemagne wrote to the Abbot of Fulda requesting that the bishoprics and monasteries ‘undertake the task of teaching’ because ‘without knowledge it is impossible to do good’ (Treitler 1984: 135). Two hundred years later, Italian music theorist Guido d'Arezzo ( c .990–1030) introduced a more precise staff notation along with solmization syllables to make it comprehensible – ut-re-mi-fa-so-la , forming a hexachord.…”

Section: Sarah Ann Glover and The Tonic Sol-fa Methodsmentioning

confidence: 99%

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Hooked on Sol-Fa: the do-re-mi heuristic for Yorùbá speech tones

Carter-Enyi¹

2018

Africa

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Sarah Ann Glover (1785–1867) believed that singing was for the public good and Samuel Àjàyí Crowther (1809–91) thought that speech tones should be preserved in writing. Their stories illustrate that diversity in thought may encounter obstacles, but can ultimately shape human consciousness. While this shows a positive side of missionary work, bringing people and ideas together, the transmission of Glover's and Crowther's ideas was mediated by the overlapping political, social and cultural hegemonies of the colonial era. Crowther was celebrated in the English-speaking world as evidence that the civilizing agenda – and colonialism – was good for all involved, but his orthographic approach was credited to the missionary linguist Johann Gottlieb Christaller. Glover's innovations in music education have been misattributed to John Curwen and Zoltán Kodály. Drawing evidence from ethnographic work, field recordings, language surveys and literature from a variety of disciplines, this article asks the question: why is do-re-mi the preferred heuristic for Yorùbá speech tone? Glover's and Crowther's physical paths never crossed, but their ideas did, converging in a remarkable inter-continental and trans-disciplinary synthesis. The do-re-mi heuristic resists the pitch-height paradigm used in formal linguistics (low-mid-high). In a culture where drums can speak, it is unsurprising that a musical model filled a void in the (European) concept of what a language could be.

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Section: Sarah Ann Glover and The Tonic Sol-fa Methodsmentioning

confidence: 99%

“…In Guido's time, a plurality of notation methods existed with the common goal of transmitting texts with efficiency and fidelity (Treitler 1984: 139, 207). Guido's staff notation and solmization were widely adopted throughout medieval Christian Europe.…”

Section: Sarah Ann Glover and The Tonic Sol-fa Methodsmentioning

confidence: 99%

Hooked on Sol-Fa: the do-re-mi heuristic for Yorùbá speech tones

Carter-Enyi¹

2018

Africa

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“…En efecto, este eje de investigación está ya constituido en los tiempos medievales por la analogía de la gramática y de la música. Según Treitler (1984), Les efforts médiévaux pour développer un vocabulaire conceptuel pour les préceptes sur la forme mélodique ont commencé avec l'adaptation par analogie de la conception de la structure du langage comme une hiérarchie constituante, en séparant la phrase en unités de sens, paroles, syllabes et lettres.…”

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La función de la escritura en la formación de la notación musical neumática

Fiszelew¹

2020

Cuadernos CANELA

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“…(i) el primero fue el encuentro de la especulación teórica clásica, que había sido recogida y pervivía en tratados como los de Boecio o Martianus Capella, con la práctica musical efectiva, encuentro que se produjo en el marco de ese momento de esplendor cultural que conocemos como Renacimiento carolingio (Treitler, 1984): 24 la primera aportaba los conceptos, cuantitativos y precisos, de nota y de intervalo, y 23 Esta característica supone una innovación: las anteriores notaciones griegas usaban signos alfabéticos para denotar sonidos individuales, y la posterior notación bizantina intenta representar intervalos melódicos. (Ferreira, 2002).…”

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Las Estrategias De La Escritura Pianística. Hacia Una Pragmática De Los Textos Musicales

Caicedo¹

2016

Revista de Musicología

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OMNR= AgradecimientosEn primer lugar, quisiera agradecer al Departamento de Lengua Española, Lingüística General y Traducción e Interpretación de la Facultad de Letras de la Universidad de Murcia su generosidad y su amplitud de miras al aceptar un proyecto de trabajo que inserta buena parte de sus raíces en un terreno ajeno y distante de aquel en el que está situado el centro de su labor investigadora.Dar las gracias a mi Director de tesis, el Dr. Ricardo Escavy Zamora, por sus ánimos y por la confianza que siempre me demostró, incluso en aquellos momentos en que los resultados que iba proponiendo no la merecían.

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Reading and Singing: On the Genesis of Occidental Music Writing

Cited by 5 publications

References 0 publications

Hooked on Sol-Fa: the do-re-mi heuristic for Yorùbá speech tones

Hooked on Sol-Fa: the do-re-mi heuristic for Yorùbá speech tones

La función de la escritura en la formación de la notación musical neumática

Las Estrategias De La Escritura Pianística. Hacia Una Pragmática De Los Textos Musicales

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