The Why and the Wherefore of the European War: Bible Study (Classic Reprint)

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The Why and the Wherefore of the European War: Bible Study (Classic Reprint)

The Why and the Wherefore of the European War: Bible Study (Classic Reprint)

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Tolkien also uses wherefore three times in the posthumously published poetry collected in The Lays of Beleriand, some of which is also written in an intentionally archaic style, even more so than the quotes above. There you will find it resting comfortably at home amongst such relics as ere, rede, methought, forwandered, thou dost, and spake — all examples of more Early Modern English such as found in Shakespeare or the King James Version of the Bible. There is no simple answer to the question “how do I go about composing in JI?” once you have acquired the basic resources needed to begin. There is no manual or course that will tell you how to do it. It is a question that individual composers must answer for themselves, depending on their musical taste and aesthetic preferences, and on how the music is ultimately to be performed. Lou Harrison, in his Music Primer, made a useful distinction:

As you see, those are all location or direction words, with the wh- ones alone useable as the start of a question. Wherefore connects to the past and therefore to the future. Wherefore therefore means “why” or “which is why”; sometimes it means “and so”. So wherefore can be a wh-question word appearing at the start of a question, but therefore cannot be. And just like other wh-question words, wherefore can be used a relative to join a subordinate clause to a main one, which again therefore cannot. The word can also mean just simply "why", for example Matthew 14:31 "Wherefore didst thou doubt?". See dictionary.com, and as some have pointed out in Juliet's Shakespearean lament. This however is certainly a pretty archaic usage. It was not until about five years later that I had a second and more revelatory encounter with JI. In the summer of 1975, I enrolled in a class called “Intonation in World Music,” presented by Lou Harrison at the Center for World Music in Berkeley, California. In this course, I learned the fundamentals of JI, its relation to various musical cultures, and how to work with musical ratios. Equally important, I had the experience of JI in conjunction with a very different musical aesthetic. At the time, Lou and Bill Colvig were building their first American gamelan, later known as “Old Granddad” (the instruments used in the Suite for Violin and American Gamelan and La Koro Sutro). Students were invited to perform in a concert on these instruments at the end of the term and several also composed for the ensemble (I did not). Old Granddad was tuned in a straightforward just D-major scale, about as different from Partch’s scale as possible in the realm of JI. Several of the pieces presented were in a minimalist/proceduralist style, a compositional practice that interested me at that time. The simple intervals of 5-limit JI, heard in that context, were stunningly beautiful. That experience changed my life. I came away from that class and concert with both the tools necessary to understand JI and the germ of a compositional and instrument-building program that culminated in the creation of Other Music’s American Gamelan in 1977–78. 4The complete expression is at least as old as Shakespeare, who used it in the Comedy of Errors in 1590: “Was there ever any man thus beaten out of season, When in the why and the wherefore is neither rhyme nor reason?” Note the singular, once a common form: though it’s often misquoted, that’s the way the gallant Captain Corcoran and others sang it in HMS Pinafore: “Never mind the why and wherefore”. The focus of the book is on motivations for and against nuclear proliferation. An analysis of these motivations leads the editor to make detailed recommendations aimed at halting the spread of nuclear weapons.

The aspect of relationships between simultaneously sounded complex tones that has attracted the most attention among theorists is the coincidence of certain harmonics when pairs of complex tones are tuned in simple-ratio intervals, or conversely, the presence of beats resulting from the non-coincidence of these same partials when pairs of complex tones deviate from these simple intervals. Beats take place between two simple tones whose frequencies are near unison. These beats—regular variations in loudness—occur at a rate that is the difference in Hz between the two generating frequencies. Beats can be perceived clearly when the difference is less than 20–25Hz, but as the difference increases beyond this point the beats blend together, giving rise to a general sensation of roughness. This roughness gradually decreases as the difference increases, persisting until the difference exceeds an interval called the critical band, which, for most of the audio range, falls between a whole tone and a minor third.

The phrase is an interesting instance of the way English speakers can turn one part of speech into another without breaking stride. Conventional grammar would say that why is an adverb, but here it lurks in the guise of a noun, meaning “reason or explanation”. Likewise wherefore. You won't encounter this word really very much in modern writing. However, there is one place where it is common, and that is in the idiom "whys and wherefores" or sometimes just "wherefores" as a noun. This means "an intent or a why". (See for example in wiktionary above.) A You have the spelling right, though I can see why you might feel it looks odd, not least because it’s one of those fixed expressions that one trots out without thinking much about them. And one half of it is archaic, anyway. The simple-ratio intervals upon which JI is based are what the human auditory system recognizes as consonance, if it ever has the opportunity to hear them in a musical context. 1 The significance of whole-number ratios has been recognized by musicians around the world for at least 2,500 years. Wherefore is a word that first arose in Middle English and saw much use in Early Modern English as well, dwindling then across the 18 th and 19 th centuries, and whose use is today mostly limited to literary, poetic, and oratorical registers. You found it in literature, where it still at whiles appears. It is also still found in modern ecclesiastical writings, probably because of how frequently it occurs in the King James Version of the Bible, which is in Early Modern English.

F. T. Bullen Log Sea-waif 149 ― The ill-used crew promptly refused to do any more in her, and were, of course, clapped in jail therefor. You have asked for a scenario in which only one of wherefore or therefore will work and they aren’t interchangeable. Here’s a good one:Just intonation (hereinafter “JI”) is any system of tuning in which all of the intervals can be represented by ratios of whole numbers, with a strongly implied preference for the smallest numbers compatible with a given musical purpose. Unfortunately, this definition, while accurate, doesn't convey much to those who aren't already familiar with the art and science of tuning. The aesthetic experience of just intervals and chords, however, is unmistakable. Originally published in 1985, SIPRI's study suggests some answers to these questions. The book examines the situation in a number of countries of key importance for non-proliferation: the two nuclear-weapon states which have declined to join the 1968 Non-Proliferation Treaty (China and France); a group of nuclear ‘threshold’ states also remaining outside the Treaty (Argentina, Brazil, India, Israel, Pakistan, South Africa and Spain); and a group of states, both developed and developing, which for various reasons have joined the Treaty (Canada, Egypt, South Korea, Sweden, Switzerland and Taiwan).

I would add that there is a “middle way” (with apologies to Buddhists): begin with a fixed scale or mode and then add pitches as required for harmony, counterpoint, transposition, modulation, and so on. This is the approach I use in much of my work. Additionally, pieces composed within a sufficiently large gamut, such as Partch’s 43-tone scale or Ben Johnston’s hyperchromatic scales, may be indistinguishable from “free style” compositions. First of all "wherefore" is a pretty archaic usage, it is marked so in many dictionaries (though some special usages are not archaic.) The other posters are drawing a strong distinction between wherefore and therefore, but the fact is that some dictionaries list "therefore" as a meaning of "wherefore". For example Merriam Webster and wiktionary. When composing in 12TET, you never need ask yourself, “which Bb do I want here?” or “am I sure that I want a G# here rather than an Ab?” (and which G# or Ab?). In JI, such questions are meaningful and often critical. Referring to the lattice in Figure 5, you will see that there are three varieties or “flavors” of “Bb” in close proximity to C 1/1. B7b 7/4 is the harmonic seventh of C. Bb– 16/9 is a perfect fifth below F 4/3 and a 9:8 whole tone below C. Bb 9/5 is a minor third above G 3/2 and a smaller 10:9 whole tone below C. Any of these tones could be used melodically in relation to C, though with different effects. Harmonically, their uses are quite distinct. B7b 7/4 can be used to form a consonant dominant-seventh type chord with C, E, and G or a subminor triad with G and D. Bb 9/5 is the minor third of a minor triad on G 3/2. Bb– 16/9 is the root of a triad including D– 10/9 and F 4/3. All of these tones also perform other roles in tonalities more distant from C 1/1. One need not look far on the lattice to see many other pairs of tones near C 1/1 that are represented by a single tone in 12TET, such as D 9/8 and D– 10/9 or A 5/3 and A+ 27/16 or C 1/1 and C7+ 63/32. Recognizing such distinctions and understanding their melodic and harmonic implications is an essential aspect of understanding and working with just intonation. Wherefore stood originally as one of a series of very tightly related word-pairs differing only in whether they began with wh- or they began with th-: Then Angrod spoke bitterly against the sons of Fëanor, telling of the blood at Alqualondë, and the Doom of Mandos, and the burning of the ships at Losgar. And he cried: ‘ Wherefore should we that endured the Grinding Ice bear the name of kinslayers and traitors?’On the next day they bore her towards Ephel Brandir; but when they came to Dimrost, the Rainy Stair, where the tumbling stream of Celebros fell towards Teiglin, a great shuddering came upon her, wherefore afterwards that place was called Nen Girith, the Shuddering Water. So far, we have been talking about the properties of musical intervals in isolation. This is much like talking about the properties of paint squeezed from a tube onto a palette. Musical intervals or painter’s colors are not without aesthetic affect when encountered in isolation like this, but it requires the work of a skilled painter or composer to use these materials in a way that reveals their true significance.



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