[40228] in Discussion of MIT-community interests
Super seasonal Savings... On home Roof & installation
daemon@ATHENA.MIT.EDU (Online-Roofing-Quotes)
Mon Apr 20 11:07:59 2015
To: <mit-talk-mtg@charon.mit.edu>
From: "Online-Roofing-Quotes" <Online-Roofing-Quotes@caesetts.eu>
Date: Mon, 20 Apr 2015 08:07:59 -0700
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<p align="center" style="font: 11px;">advanced 7ea99ed1b6714702bd5343b786c98bee to their “great system” of the double octave. Through all which changes there of course arose a greater heterogeneity of melody.
Simultaneously there came into use the different modes—Dorian, Ionian, Phrygian, Æolian, and Lydian—answering to our keys; and of these there were VMXPVSDRO
ultimately fifteen. As yet, 7ea99ed1b6714702bd5343b786c98bee however, there was but little heterogeneity in the time of their music. Instrumental music being at first merely the
accompaniment of vocal music, and vocal music being subordinated to words,—the singer being also 7ea99ed1b6714702bd5343b786c98bee the poet, chanting his CXGGVTPDT own compositions and
making the lengths<I>of his notes agree with the hit of his verses,—there resulted a tiresome uniformity PDOSQ of measure, which, as Dr. Burney</I>7ea99ed1b6714702bd5343b786c98bee WSMD says, “no
resources of melody could disguise.” Lacking the complex rhythm obtained by our equal bars and unequal notes, the only rhythm was that produced by the 7ea99ed1b6714702bd5343b786c98bee
quantity of the syllables, and was of necessity comparatively monotonous. And further, it may be observed that the chant thus resulting, being like 7ea99ed1b6714702bd5343b786c98bee
recitative, was much less clearly differentiated from ordinary speech than is our modern CTKTPWT song. Nevertheless, [33] in virtue of the extended range of
notes in use, the variety of modes, FSPLM the occasional variations of time consequent on changes of metre, and the multiplication of instruments,
music had, towards the close of Greek civilization, ENK attained to considerable heterogeneity—not indeed as compared with our music, but as
compared with that which preceded it. Still, there existed nothing but melody: harmony was unknown. It was not until Christian church-music had 7ea99ed1b6714702bd5343b786c98bee
reached some development, that music in parts was evolved; and then<i>it came into existence through</i>a KVGGNL BGQRYHQR very unobtrusive differentiation. Difficult as it
may be to conceive a priori how the advance from melody to harmony VTVPERHD could take place without a sudden leap, it is none the less true that it did so.
The MPXC circumstance which prepared the 7ea99ed1b6714702bd5343b786c98bee way for it was the employment of two choirs singing alternately the same air. Afterwards it became the
practice—very possibly first suggested by a mistake—for the second choir to commence before the first had ceased; thus producing 7ea99ed1b6714702bd5343b786c98bee a fugue. With the
simple airs then in use, a partially-harmonious fugue might not improbably thus result: and a very partially-harmonious fugue 7ea99ed1b6714702bd5343b786c98bee satisfied the ears of
that age, as we know from still preserved examples. The idea having once BKGQUSO been given, the composing of airs productive of fugal harmony would
naturally grow up, as in some way it did grow up, out of this alternate choir-singing. And from the fugue to concerted music of two, three, four, 7ea99ed1b6714702bd5343b786c98bee
and more parts, the transition was easy. Without pointing out in detail the increasing complexity that resulted from introducing notes DAF of various
lengths, from the multiplication of keys, from the use of accidentals, from varieties of time, and so forth, it needs but to contrast music as it is, QDLHUKQL
with music as it was, to see how immense is the increase of heterogeneity. We see this if, looking at music 7ea99ed1b6714702bd5343b786c98bee in its ensemble, we enumerate its many
different genera and species—if we consider the divisions into vocal, instrumental, and mixed; and their subdivisions into music [34] for EPGC .</p>
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