101x2 New Popular Fake Book. 202 New Popular Songs Combo by Assorted Compilation

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101x2 New renowned faux publication (202 New renowned Songs combination sort) - For All well known tools (C-book)

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Extra info for 101x2 New Popular Fake Book. 202 New Popular Songs Combo Style - For All Popular Instruments (C-book)

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G. de Chabanon, Observations sur la musique (Paris: Pissot, 1779); Boye´, L’expression musicale mise au rang des chime`res (Paris: Espirt, 1779); C. Avison, An Essay on Musical Expression (London: C. -J. Rousseau, Essai sur l’origine des langues, trans. in Two Essays on the Origin of Language: Jean-Jacques Rousseau and Johann Gottfried Herder, trans. J. H. Moran and A. Gode (University of Chicago Press, 1966). “[J]e concluds que la meˆme suite, & les meˆme combinaisons e´tant donne´es aux couleurs, leur procureront les meˆmes beautez & les meˆmes charmes; ce qui est d’autant plus vrai que les couleurs sont par elles-meˆmes infiniment plus riantes & plus agre´ables pour les yeux, que les sons ne le sont pour les oreilles.

But the ocular harpsichord also helped to alter the discourse around music; Castel’s invention popularized the equation of pitch with color and brought attention to the senses and how they functioned. The instrument therefore engendered a useful vocabulary for discussing music and facilitated the use of values and concepts derived from the visual arts. Thinkers adopted the vocabulary from the sixteenth- and seventeenth-century debates over the primacy of design and color, which allowed for the subdivision of musical parameters into a variety of registers with differing values.

The different registers are mutually supportive: without the pastoral, the sublime ceases to have an effect. But they also form a musical economy of mimesis and function. It is precisely this orchestral order that drives Haydn’s oratorios: together, they simultaneously explore the creation of the world and thematize the birth of the aesthetic. The final two chapters and epilogue examine the role the orchestra played in the formation of the modern conception of the musical work and the ways in which instruments were suppressed within later musical discourse.

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