{"product_id":"andreas-werckmeisters-musicalische-paradoxaldiscourse-9781498566346","title":"Andreas Werckmeisters Musicalische","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eAndreas Werckmeister (1645  1706), a late seventeenth-century German Lutheran organist, composer, and music theorist, is the last great advocate and defender of the Great Tradition in music, with its assumptions that music is a divine gift to humanity, spiritually charged yet rationally accessible, the key being a complex of mathematical proportions which govern and are at the root of the entire universe and all which that embraces. Thus understood, music is the audible manifestation of the order of the universe, allowing glimpses, sound-bites of the very Creator of a well-tempered universe, and of our relationship to each other, our environment, and the divine powers which placed us here. This is the subject matter of the conversation which Werckmeister wishes to have with us, his readers, particularly in his last treatise, the Musicalische Paradoxal-Discourse. But he does not make it easy for today's readers. He assumes certain proficiencies from his readers, including detailed bibli\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eIn his last writing, Musicalische Paradoxal-Discourse (1707), Andreas Werckmeister, one of the great minds of musical aesthetics and theory, confronts a series of paradoxes at the interfaces between faith and reason, mind and body, speculation and experience. The author, himself, presents us, today, with a further paradox: he was one the last exponents of an ancient cosmological understanding of music—a number-based conception in the tradition of Pythagoras and Plato—yet he was also one of the first to advocate for major-minor tonality, equal temperament, and a notation system that would treat each of the twelve pitch classes and all enharmonically equivalent intervals in a like manner. Dietrich Bartel’s translation renders Werckmeister’s notoriously difficult and often obscure German in clear and precise English, making it truly accessible to an international readership for the first time. Bartel’s magisterial introduction places this publication an illuminating context, and traces, with precision and nuance, the evolution of Werckmeister’s thinking about temperament. -- John Walter Hill, professor emeritus, University of Illinois, Urbana-Champaign\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eTable of Contents Series Editor’s Foreword Preface Part I  Introduction to the Musicalische Paradoxal-Discourse \tWerckmeister Biography \tWerckmeister Treatises Contents and Sources of the Musicalische Paradoxal-Discourse  Part II\tTranslation of the Musicalische Paradoxal-Discourse Title page and dedicatory comments Preface Index and contents of the chapters Chapter 1\tAn introduction to this work: the division of the musical proportions Chapter 2\tA testimonial through mathematics and Holy Scriptures themselves, that the course of the heavens are harmonic Chapter 3\tHow the mortal body and soul are harmonically created, and furthermore, on the influence of the stars Chapter 4\tWhy humans find such pleasure in music, and whence composers and musicians arise Chapter 5\tAs the image of God, humans are to praise the Creator with music. Buildings and eras in scripture are also harmonic wonders of spiritual music. Chapter 6\tOn the abuse of music, which the authorities could abolish Chapter 7\tHow the inclination of a people determines its attitude towards music, and how the heathens were so scattered in their views on music Chapter 8\tOn the music of the early Christians, and the subsequent changes Chapter 9\tThe great difficulties arising out of solmization and the linear staff-system Chapter 10\tProof that the linear staff system is accompanied by great difficulties Chapter 11\tProof of how everything can be played or sung through the twelve note-names Chapter 12\tFurther proof, that the linear staff system has many more variants than the twelve note-names Chapter 13\tHow the temperaments can be examined, and on German tablature Chapter 14\tHow the chromatic system is to be applied to the tempered keyboard Chapter 15\tOn the disorder of hymn singing Chapter 16\tOn the simplicity of old organs Chapter 17\tHow the musical modes can be differentiated Chapter 18\tOn the nature and property of the harmonic numerals Chapter 19\tOn the hidden meaning of the numerals Chapter 20\tOn the properties of the harmonic numerals, when they themselves are subdivided Chapter 21\tOn the subdivision of the harmonic numerals Chapter 22\tOn the properties of the dissonant musical numerals Chapter 23\tHow the harmonic radical numerals are transformed into a tempered tuning, and of their hidden meaning Chapter 24\tA comparison of incorrect tempered tuning with false Christianity Chapter 25\tHow the temperament can be perfect or imperfect, and how the same can be compared with Christianity Chapter 26\tThe Lord’s Prayer in the musical proportional numerals Bibliography About the author","brand":"Lexington Books","offers":[{"title":"Default Title","offer_id":51040795951447,"sku":"9781498566346","price":72.25,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781498566346.jpg?v=1750947868","url":"https:\/\/bookcurl.com\/products\/andreas-werckmeisters-musicalische-paradoxaldiscourse-9781498566346","provider":"Book Curl","version":"1.0","type":"link"}