Author Topic: Counterpoint: Melody, Harmony and Mental Models  (Read 7388 times)

0 Members and 1 Guest are viewing this topic.

perpetuo studens

  • Administrator
  • Hero Member
  • *****
  • Posts: 747
  • Karma: 75
Re: Counterpoint: Melody, Harmony and Mental Models
« Reply #15 on: January 03, 2014, 03:40:58 PM »
A wonderful piece. Quelle surprise. :)

I couldn't quite see how many courses the lute had, and was curious about tuning (from my guitar experience I know that tuning could make the piece lay nicely on the instrument or unplayable), so I googled a bit and the number of courses and tuning for the lute appear to have varied widely over the years.

Does anyone know how the lute was constructed and tuned in Bach's time? He must have known how a player's instrument would be tuned so that he could ensure that what he wrote would be playable (I've been handed many a chart, mostly written by piano players, that contained chords that would require extra fingers :)).

The perceived not a sum of elements to be distinguished from each other and analyzed discretely, but a pattern, that is to say a form, a structure: the element's existence does not precede the existence of the whole, it comes neither before nor after it, for the parts do not determine the pattern, but the pattern determines the parts: knowledge of the pattern and of its laws, of the set and its structure, could not possibly be derived from discrete knowledge of the elements that compose it.

That means that you can look at a piece of a puzzle for three whole days, you can believe that you know all there is to know about its colouring and its shape, and be no further ahead than when you started. The only thing that counts is the ability to link this piece to other pieces...

Georges Perec - Life: A User's Manual