Understanding McLuhan/Understanding McLuhan (1996)(Voyager)[Mac-PC].iso/pc/mcluhan.dxr/08892_Field_TCGG T657.txt

Text File | 1996-04-10 | 922b | 16 lines

     conceptions which were to produce a profound technical
     revolution.

     Bruce Pattison’s excellent study of Music and Poetry of
the English Renaissance  stresses that “song-form was virtually
the only form up to the seventeenth century” (p. 83). But
song-form having been for centuries inseparable from narrative
and lineal development of themes, it penetrated and shaped
literary practice as well. What we might call the story or
“narrative line” today is not much more discernible in Nashe
than in the Old Testament. Rather such a “line” is embedded in
multitudinous effects of language. This quality of simultaneous
interplay or tactile sensuousness is prominent in medieval
music. As Pattison puts it (p. 82), “In a sense medieval music
is often instrumental in conception, although it is not certain
what part instruments took in its performance. Attention was