It looks like Rousseau tried to do something new for music notation
(exactly what ?)... but the "Acad=E9mie des Sciences" did not consider it
to be really new....
Here is approximately (i.e. translated from french) what I found on the web:
1742:
January: Rousseau works on a new note system for music
July: Rousseau moves to Paris with his new ciphered system
August 22nd: He reads his project on new signs for music ("Projet
concernant de nouveaux signes pour la musique" ) in front of the Acad=E9mie
des Sciences.
September 8th: After a review, the Acad=E9mie de Sciences gives him a
diploma. His system is not recognized as being new.
September-October: He corrects his memoir in order to publish it
1743:=20
"La dissertation sur la musique moderne" is published by Quillau (same text=
?)
(I just discovered that Jean Jacques Rousseau incidentally also wrote music
pieces, wrote most of the articles about music in "L'Encyclop=E9die". He als=
o
wrote a "Dictionnaire de la musique", and had permanent arguments with J.P.
Rameau regarding music theory.)
Pascal.
(Here is the original text in french:)
"1742=20
Janvier Rousseau travaille =E0 un nouveau syst=E8me de notation musicale.=20
Juillet Rousseau part pour Paris avec son syst=E8me de musique chiffr=E9e.=
=20
22 ao=FBt Il lit son Projet concernant de nouveaux signes pour la musique =
=E0
l'Acad=E9mie des Sciences.=20
8 septembre Apr=E8s rapport des commissaires qui ont examin=E9 le projet,
l'Acad=E9mie d=E9cerne un certificat =E0 Rousseau. Son syst=E8me n'est pas r=
econnu
comme nouveau.=20
Septembre-octobre Il refond son m=E9moire pour le livrer au public. Il fait
la connaissance de Diderot, Fontenelle, Mariveaux, le P. Castel.=20
1743=20
Janvier La Dissertation sur la musique moderne para=EEt chez Quillau. "
- -
------------------------------
Date: Wed, 17 Apr 2002 09:59:53 -0500
From: "Zachary Steiner" <zsteiner@butler.edu>
Subject: Sandinista
A friend of mine told me that I had to listen to the Clash's Sandinista
as soon as possible. I picked it up on his recommendation and am
confounded by it. Was the Clash just really confused or were they
making some kind of statement, if so what? I enjoy moments of the
album, but there are other times I scratch my head wondering what they
were thinking. Can any one illuminate the album for me?
Zach
- -
------------------------------
Date: Wed, 17 Apr 2002 10:28:44 -0500
From: "William Crump" <crumpw@bellsouth.net>
Subject: Re: Sandinista
Even with the blisteringly good early stuff, esp. "White Man in Hammersmith
Palais," twenty+ years down the road I find myself going back to Sandinista
when I want to listen to the Clash. I like big, ambitious messes,
even/especially if they don't necessarily work, and this definitely
qualifies.
Everybody in the band was searching and experimenting. It seems like they
suddenly understood, in one of those blindingly clear moments, that
capital-M Music was good, that it was bigger than any provincial elements
like punk, or even like rock and roll as a whole. That Music was worth
exploring; that it would survive whatever these four yahoos did to it; and,
incidentally, that they were flavor-of-the-month enough that CBS would put
out their combined studies as a rock album, cha-ching!
I kinda see it as an ethnomusicological documentary, minus the video, from a
bunch of blokes with no formal education but lots of intelligence, an
incredibly limited English/Rock/Punk background from which to start, but
with a truckload of enthusiasm.
Possibly (maybe) (conceivably) full of shit,
William Crump
>From: "Zachary Steiner" <zsteiner@butler.edu>
> A friend of mine told me that I had to listen to the Clash's Sandinista
> as soon as possible. I picked it up on his recommendation and am
> confounded by it. Was the Clash just really confused or were they
> making some kind of statement, if so what? I enjoy moments of the
> album, but there are other times I scratch my head wondering what they
> were thinking. Can any one illuminate the album for me?
- -
------------------------------
Date: Wed, 17 Apr 2002 08:43:10 -0700
From: skip Heller <velaires@earthlink.net>
Subject: Re: Sandinista
on 4/17/02 7:59 AM, Zachary Steiner at zsteiner@butler.edu wrote:
> Can any one illuminate the album for me?
>
> Zach
>
Yes. It would have made a much better single album. Their dub experiments,
for one, suck.
skip h
- -
------------------------------
Date: Wed, 17 Apr 2002 11:58:12 -0400
From: <wlt4@mindspring.com>
Subject: Re: Sandinista
>Was the Clash just really confused or were they
>making some kind of statement, if so what?
Do you mean the politics or the music? This far down the road supporting the Sandinistas seems pretty regressive but at the time they did look like a reasonable alternative to the usual run of US-backed regimes. As for the music, it's like London Calling pushed a bit further or the 80s equivalent of The White Album; in other words, the sprawl and eclecticism are part of the point. It does get a bit spotty towards the end but I don't think there are any outright failures.
- -
------------------------------
Date: Wed, 17 Apr 2002 12:43:37 EDT
From: Nvinokur@aol.com
Subject: Re: Sandinista
The Clash owed their record company three more records, and felt the
Sandinista satisfied their commitment. The record company felt otherwise
(i.e., Combat Rock). At the time, it was an experimental album, using lots
of reggae dub techniques. Personally, besides the first album, it is their
strongest album (I know some will say London Calling). Their is a lot to
listen to and after 20 some odd years, I still play it.
- -
------------------------------
Date: Wed, 17 Apr 2002 12:13:20 -0500
From: "Daniel J. McConnell" <djmcconnell@students.wisc.edu>
Subject: Re: Notation
The precursor to our modern (Western) system of notating music on a
5-line staff comes from Guido of Arezzo. In his <italic>Aliae regulae
</italic>[<italic>Prologus in antiphonarium</italic>] of ca. 1030, he
proposed using a four-line staff (of colored lines) on which neumes
could be placed (neumes being the precursor to our modern note/rest
notation). Guido is also famous for creating the system of solfege
(which he used in place of the monochord to teach boys to sing).
Daniel J. McConnell=20
>Question from a colleague: Who was it who actually invented the note
system
>(i.e. sheet music)? S
>
>Stephen Fruitman
>Dept of Historical Studies
>Ume=E5 University
>SE-901 87 Ume=E5 Sweden
- -
------------------------------
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