Download The Language of Music by Deryck Cooke PDF for Free: A Guide to Music Theory and Criticism
The Language of Music by Deryck Cooke: A Review
Music is one of the most universal and powerful forms of human expression. But how does music convey meaning and emotion? How can we understand and appreciate music better? These are some of the questions that Deryck Cooke explores in his classic book, The Language of Music. In this article, we will review the main ideas and arguments of the book, as well as its relevance and impact on music theory and criticism. We will also provide some information on where you can find and download a PDF version of the book for free.
the language of music deryck cooke pdf download
Introduction
What is the book about?
The Language of Music is a book that aims to explain how music works as a form of communication. Cooke argues that music has a language of its own, with its own grammar, syntax, and vocabulary. He claims that music can express specific emotions and meanings that are not reducible to words or concepts. He also proposes a method of musical analysis that focuses on identifying and interpreting the expressive elements of musical language, such as melody, harmony, rhythm, timbre, and form.
Who is the author?
Deryck Cooke (1919-1976) was a British musicologist, composer, broadcaster, and critic. He was best known for his work on Gustav Mahler's unfinished Tenth Symphony, which he completed and orchestrated based on Mahler's sketches. He was also a prolific writer and lecturer on various aspects of music history and aesthetics. He wrote The Language of Music in 1959, based on his doctoral thesis at Cambridge University.
Why is the book important?
The Language of Music is one of the most influential and controversial books on music theory and criticism ever written. It challenged the prevailing views of music as a purely abstract or formal art, or as a mere reflection of social and historical contexts. It offered a new perspective on music as a meaningful and expressive art, with its own logic and structure. It also provided a practical and accessible tool for analyzing and appreciating music from different genres and periods. The book has inspired and provoked many debates and discussions among musicians, scholars, critics, and listeners ever since its publication.
Main Body
What kind of an art is music?
The expressive power of music
Cooke begins his book by asking what kind of an art is music. He rejects the idea that music is a purely abstract or formal art, that has no relation to human experience or emotion. He argues that music is an art that expresses feelings and moods, that communicates something to the listener. He cites various examples of how music can evoke specific emotions, such as joy, sadness, anger, fear, love, etc. He also points out how music can convey more complex and subtle meanings, such as irony, sarcasm, humor, etc.
The musical language and its elements
Cooke then proceeds to explain how music achieves this expressive power. He claims that music has a language of its own, that is distinct from verbal or visual languages. He defines musical language as "the sum total of all the devices and conventions by which music expresses itself". He identifies four main elements of musical language: melody, harmony, rhythm, and timbre. He explains how each element contributes to the expression of musical meaning and emotion, and how they interact and combine to form musical sentences, paragraphs, and chapters.
How does musical communication work?
The process of musical expression
Cooke then describes how musical communication works between the composer and the listener. He compares it to a dialogue, in which the composer sends a message to the listener through the medium of sound, and the listener receives and interprets the message according to his or her own background and experience. He emphasizes that musical communication is not a one-way or passive process, but a two-way or active one, that requires both the composer and the listener to participate and cooperate. He also stresses that musical communication is not a literal or direct process, but a figurative or indirect one, that relies on symbols, metaphors, and associations.
The large-scale functioning of musical language
Cooke then analyzes how musical language functions on a large scale, that is, how it creates coherent and meaningful musical works. He introduces the concept of "musical grammar", which he defines as "the rules governing the construction of musical sentences". He explains how musical grammar regulates the use and combination of musical elements, such as melody, harmony, rhythm, and timbre. He also introduces the concept of "musical syntax", which he defines as "the rules governing the construction of musical paragraphs". He explains how musical syntax organizes and relates musical sentences into larger units, such as phrases, sections, movements, and forms.
What are some examples of musical analysis?
The basic terms of musical vocabulary
Cooke then demonstrates how his method of musical analysis works in practice. He provides a list of basic terms of musical vocabulary, which he calls "motifs". He defines motifs as "the smallest units of musical expression", that can be identified by their distinctive melodic, harmonic, rhythmic, or timbral features. He gives examples of common motifs that can be found in various types of music, such as major and minor chords, rising and falling intervals, syncopated and dotted rhythms, etc. He explains how motifs can express different emotions and meanings depending on their context and combination.
The application of musical language to various genres and styles
Cooke then applies his method of musical analysis to various genres and styles of music, ranging from classical to popular music. He shows how different composers use musical language to create different effects and messages. He analyzes examples from Bach, Mozart, Beethoven, Schubert, Wagner, Mahler, Debussy, Stravinsky, Schoenberg, Gershwin, Ellington, Beatles, etc. He illustrates how each composer develops his or her own musical vocabulary and grammar, while also following some common principles and conventions of musical syntax. He also compares and contrasts different genres and styles of music in terms of their expressive aims and methods.
Conclusion
What are the main takeaways from the book?
In conclusion,The Language of Music is a book that offers a comprehensive and insightful account of how music works as a form of communication. It presents a new way of understanding and appreciating music as an expressive art that conveys meaning and emotion. It provides a practical and accessible tool for analyzing and enjoying music from different genres and periods. It also challenges some common assumptions and prejudices about music as a purely abstract or formal art or as a mere reflection of social and historical contexts.
How can the book benefit readers and musicians?
The book can benefit readers and musicians in various ways. For readers who are interested in music theory and criticism,The Language of Music can offer a fresh perspective on music as a meaningful and expressive art with its own logic and structure. It can also stimulate further exploration and discussion on various aspects of music history and aesthetics. For readers who are interested in music appreciation,The Language of Music can offer a useful guide on how to listen to music more attentively and intelligently. It can also enhance their enjoyment and understanding of music from different genres and periods. For musicians who are interested in music composition or performance,The Language of Music can offer a valuable resource on how to use musical language more effectively and creatively. It can also inspire them to develop their own musical vocabulary and grammar while also Continuing the article: Where can readers find and download the book?
If you are interested in reading The Language of Music by Deryck Cooke, you might be wondering where you can find and download a PDF version of the book for free. Unfortunately, the book is not in the public domain, and it is not easy to find a legal and free copy online. However, there are some possible ways to access the book without paying for it. Here are some suggestions:
You can check if your local library has a physical or digital copy of the book that you can borrow or read online. You can also request an interlibrary loan if your library does not have the book.
You can search for online repositories or archives that might have a scanned or digitized copy of the book that you can download or view online. For example, you can try the Internet Archive, which has a PDF version of the 1959 edition of the book, but you need to sign up for a free account and borrow the book for 14 days.
You can look for online platforms or communities that might have a shared or donated copy of the book that you can download or view online. For example, you can try Goodreads, which has a page for the book where you can see other readers' ratings and reviews, and where you might find someone who is willing to lend or give you a copy of the book.
Of course, these methods are not guaranteed to work, and they might not be legal or ethical in some cases. The best way to support the author and the publisher is to buy a copy of the book from a reputable source, such as Amazon, where you can find both new and used copies of the book for sale.
FAQs
Here are some frequently asked questions about The Language of Music by Deryck Cooke:
What is the main thesis of the book?The main thesis of the book is that music is a language that expresses and evokes emotion, and that all composers whose music has a tonal basis have used the same, or closely similar, melodic phrases, harmonies, and rhythms to affect the listener in the same ways.
What are some of the benefits of reading the book?Some of the benefits of reading the book are that it can offer a fresh perspective on music as a meaningful and expressive art with its own logic and structure, that it can provide a practical and accessible tool for analyzing and enjoying music from different genres and periods, and that it can challenge some common assumptions and prejudices about music as a purely abstract or formal art or as a mere reflection of social and historical contexts.
What are some of the criticisms of the book?Some of the criticisms of the book are that it is too subjective and personal in its interpretation of musical expression and meaning, that it is too limited and narrow in its scope and application of musical language, that it is too prescriptive and dogmatic in its rules and conventions of musical grammar and syntax, and that it is too outdated and irrelevant in its examples and references to contemporary music.
Who is the intended audience of the book?The intended audience of the book is anyone who is interested in music theory and criticism, music appreciation, music composition or performance, or music psychology and philosophy.
How long is the book?The book is about 300 pages long, divided into three main parts: What Kind of an Art is Music?, The Process of Musical Communication, and The Large-Scale Functioning of Musical Language. It also has an appendix with musical examples, a bibliography, an index, and a preface.
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