About my book:
Words perceived as logos were considered the real ethos for such a long time, as the essence of a culture multifaceted in its expression, specifically in the beginning of the earliest notations. A certain perspective that explains what made a language sacred, whether it was Sanskrit, Hebrew, Greek, Latin, or else, so the sacred part of sound formulas with letters in the language was considered a unique strand of energy in the ocean of universal force.
The etymlogy of language likewise depicted few vowel-shades for convention together with the developing meaning of words: a different aspect in each country, if not in each district. The findings of acoustic compel to admit the fact that whenever is heard a language, either sung or spoken, one is listening an intricate melody of harmonics: the very thing that carries meaning differently in every place, and enables to understand each other. A path that indisputably shapes our way of thinking as well, eventually affiliated to diction and pronunciation. In the earliest medieval times, this was the aim in performing, not only for the Carolingian realm, but even elsewhere, because the melodies for the most were related to oral transmission, which was inexplicably the evident deduction from the empirical experience.
It goes without saying that Guido d'Arezzo represents the shifting point from the old approach to the new one through solmization, particularly in the second period of Middle Ages. Finally, from the earliest notations the intention was clearly to highlight the inherent expressions of these chants which is important to adequately define at this stage.
The picture on the cover of the book is an example of letter notations from "Micrologus de discipline artis musicae" written by Guido d'Arezzo. Vienna, Österreichsche Nationalbibliothek, codex Vindob. 51, folio 40r.
For more information, visit the book's Academia.edu page
The etymlogy of language likewise depicted few vowel-shades for convention together with the developing meaning of words: a different aspect in each country, if not in each district. The findings of acoustic compel to admit the fact that whenever is heard a language, either sung or spoken, one is listening an intricate melody of harmonics: the very thing that carries meaning differently in every place, and enables to understand each other. A path that indisputably shapes our way of thinking as well, eventually affiliated to diction and pronunciation. In the earliest medieval times, this was the aim in performing, not only for the Carolingian realm, but even elsewhere, because the melodies for the most were related to oral transmission, which was inexplicably the evident deduction from the empirical experience.
It goes without saying that Guido d'Arezzo represents the shifting point from the old approach to the new one through solmization, particularly in the second period of Middle Ages. Finally, from the earliest notations the intention was clearly to highlight the inherent expressions of these chants which is important to adequately define at this stage.
The picture on the cover of the book is an example of letter notations from "Micrologus de discipline artis musicae" written by Guido d'Arezzo. Vienna, Österreichsche Nationalbibliothek, codex Vindob. 51, folio 40r.
For more information, visit the book's Academia.edu page