Terpander; or, Music and the futureDent, Edward J. (Edward Joseph)
Philosophy
Terpander; or, Music and the future
Dent, Edward J. (Edward Joseph)
Music -- Philosophy and aesthetics
Its grammar was codified by Rameau early in the eighteenth century,
and later theorists saw no reason to repudiate the main principles
of Rameau’s doctrine. In the passionate stateliness of Rameau’s own
music, in the gigantic dignity of Handel, in the genial _Gemütlichkeit_
of Bach, we see the same lucid and logical precision of language. It
was only natural that eighteenth century criticism should regard the
music of earlier centuries as crude and barbarous. The nineteenth
century approached the older music with a more penetrating sense of
scholarship, but could not help reading it in the same spirit. An age
of antiquarian research inevitably tended to consider its discoveries
as historical documents to be examined in the dry light of theory
rather than as the expressions of intensely passionate humanity. The
music of the Middle Ages and the Renaissance was interpreted according
to the system of Rameau, for no other system could be conceived. If
under these conditions it failed to make any emotional appeal, that
did not matter: reverence for antiquity discouraged the unveiling of
passion.
III
The development of all kinds of historical studies during the past
half-century has caused a wide and by no means learned public to take a
keen interest in the life of the past and in its artistic expression.
We can no longer quietly accept the doctrine that music began with
Bach, or even――as Victor Hugo suggested――with Palestrina. The
architecture, sculpture and painting of the remote centuries, as well
as their poetry, bring the ancient and mediaeval world vividly before
our eyes and minds. We cannot help seeing that music must have been no
less important in the lives of our ancestors than it is in our own;
indeed, it often seems that in those far-away times the art of music
exercised an even more cogent influence than it does now. How can it
be, we ask, that people so strangely susceptible to the power of sound
and at the same time so consummately accomplished in the other arts
should have left behind them an art of music which we can only regard
as crude and primitive?
Public-domain text, read in full here on John Shaqi.
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