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281:(It has been suggested that both the technique of canon itself as well as its representation—the circle and the inherent symbolism of the tenets of Christianity in the triangle—also imply a "sense of the infinite.") The work represented in the triangle, is part of a "rough" version of a puzzle canon in Josquin's Agnus Dei II from his
143:) indistinguishable audibly from those spelled in the appropriate way. Here, the perverse spelling (whether humorous or annoying to the trained continuo player) is not unusual graphically, but represents a score writing unmotivated except as an inside joke between composer and performer, and is unhearable by the listener.
519:
Post-tonal music has seen an expansion of eye music in line with its expansion and experimentalism of musical techniques. The last examples using a rigorous scoring system rooted in standard practice are the finely turned circles and spirals (as well as a peace symbol and a crucifix) in the works of
249:
95:
of puzzle canon is also a factor. A four-voiced circular canon, when notated as a puzzle canon, may remain an un-worked-out single line of notes, and be inadmissible as eye music. When that single line of notes is inscribed in a graphical shape it becomes eye music, even if the
536:
are not, in fact, a feature of eye music. As novel and attractive as the graphics may be in these scores, they function entirely as performance indications or true records of compositional method (such as the
Steiner score shown here). Also often seen are graphical or
304:
35:
By simple definition eye music is when the graphic notation of music is altered in some meaningful way visible to the performers. Often the changed "meaning" of the altered notation is enhanced by the music having compositional elements of melody and form such as
412:
400:
88:(reverse) of the other. In itself the score with the clues alone is not eye music. But represent the same work "graphically spelled out," however, say with a drawing of the clued score facing a mirror, and the score/drawing becomes eye music.
201:) indicating rhythmic alterations. Eye-music-within-eye music is in the small group of notes hanging like a locket in the upper left, also all in red and in the shape of a heart. Another work of Cordier, this time inscribed in circles,
154:
discussed below, shows a combination of three eye music features. The score is made difficult "unnecessarily," is eye-catching for its graphics, and has a clever external reference, all unnoticeable to the listener.
345:
With the
Italian madrigalists from the 1580s until the early 17th century (whose style was almost literally imported to England), eye music reached its apogee until its transformation in the 20th century.
272:
Another instance of eye music in the
Renaissance is apparently unique—the representation of a triangle for a canonic piece, which appears in juxtaposition with an anonymous canon written in a circle—in
326:
and their focus on text declamation, at a word-by-word basis, was fertile ground for eye music. Words that suggest "blackness," such as "death" or "night," receive "black" notes (e.g.
84:
names.) As an example, a puzzle canon might be notated as one line of music with two key signatures and clefs, where the worked-out result will be a two-voice canon with one voice the
677:
Elders, Willem. "Zeichen und Symbol in der altniederländischen
Totenklage." In Zeichen und Struktur in der Musik der Renaissance: Ein Symposium aus AnlaĂź der Jahrestagung der
373:, a groundbreaking scholar of the Humanist madrigal, wrote that eye music is "the most extreme and (for our aesthetic convictions) most horrible testimony of naturalism, of
283:
322:
movement—the rediscovery and translation of Greek texts in the mid-16th century—eye music flourished. The change in musical practice, particularly with the
868:
103:
An even finer use of graphical conceit is when the canon does not have any musical way to end, and are in a sense "infinite"—classically referred to as
295:
is clear, suggesting the use of a triangular representation. The representation is unique, although possibly from a copy used by Dossi.
678:
635:
1334:
861:
807:
Das übertriebenste und (für unser ästhetisches
Empfinden) grausamste Zeugnis des Naturalismus, der imitazione, im Madrigal.
1369:
1233:
617:
Dart, Thurston. "Eye music." New Grove
Dictionary of Music and Musicians, Stanley Sadie, ed. London:Macmillan, 1980.
139:
chords, that is, "puns" of chord indications spelled with no regard to the key of the rest of the ensemble, but (in
706:
A transcription of the canon written as a circle is in Slim, pp. 53-55. The triangle canon is transcribed on p. 59.
268:
notated in a triangle. (The notes of the triangular canon can be seen on the original painting under raking light.)
1459:
1438:
1329:
1304:
1095:
854:
511:, perfectly normal ones for each movement, as are the tempos associated with them and the type of dance of each.
44:. Moreover, the concept is demonstrated by sometimes differing perceptions of composer, performer, and listener.
1339:
1289:
1178:
1085:
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as clues to reveal multiple lines of music in canon. (Closer to true cryptographic works would be those with
1428:
1299:
291:
of 3:1, and has one voice take part at the interval of a fifth, that is, 3:2. Its relation to the
Christian
123:
Another class of eye music is when the score is purposely made difficult for the performer. For example, in
978:
715:
On the implication of "transcendance" expressed by the theoretically infinite repetition in many canons,
1410:
1274:
973:
444:
436:
481:(which is doubly humorous because gigues are generally light and brisk), the time signatures reduce to
287:
canonic mass. It has the superscript "trinitas in un" ("three in one") as a clue to its solution, is a
1105:
903:
319:
307:
1344:
1324:
630:
Hofstadter, Douglas R. Gödel, Escher, Bach: An
Eternal Golden Braid (New York: Basic Books 1999.
996:
124:
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works that use the symbols of music notation but are not performing scores at all, such as
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208:
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370:
77:
719:
Chafe, Eric. " Allegorical Music: The "Symbolism" of Tonal
Language in the Bach Canons."
646:
385:
205:("With a compass was I composed"), goes out of its way to identify itself as eye music.
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is a clue that means "play me as a round," a different type of eye music entails.
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65:
53:
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It can be seen that words of death and lament are associated with black notes, a
1395:
1269:
1248:
1225:
1210:
1023:
958:
933:
908:
736:
XIX (1912–13), pp. 8–21; partly trans. in The
Italian Madrigal, transl. Krappe,
350:
is considered the composer most fond of eye music. For example, in the madrigal
331:
274:
253:
24:
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For many such figures of music graphically portrayed in mirrors, helixes, etc.
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made even simpler to achieve in light of the contemporaneous simplification to
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The difficulty in definition is also apparent with border-line cryptographic
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International Music Score Library Project (IMSLP) / Petrucci Music Library
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Reaction by theorists of the time was mixed. A leading musical humanist,
358:(1588), black notes are used for "chiuser le luci" ("close their eyes")
242:
220:
151:
1190:
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1148:
1133:
1118:
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334:); "white words" such as "light" or "pale" receive "white" notes (e.g.
265:
111:." When an infinite (circular) canon is inscribed in a circle, and the
1205:
1143:
1070:
898:
893:
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On Marenzio's standing among madrigalists and his use of eye music,
560:
846:
389:
The notes for scampering Lilliputians and ponderous Brobdingnag in
1359:
1065:
963:
943:
693:
Slim, H. Colin. "Dosso Dossi's Allegory at Florence about Music."
559:
440:
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302:
247:
176:
162:
61:
60:, which appear in the score entirely as a bare line of notes with
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ones. Because the Lilliputian movement is written in the bizarre
913:
566:
850:
107:
more commonly as "circular canons," and even more commonly as "
189:
Two examples of eye music from the early Renaissance are from
19:(often referred to in English by its exact German translation
241:
notation. This feature of eye music would extend through the
767:. 3 Vol. Princeton:Princeton University Press, (1949) 1971.
744:. 3 Vol. Princeton:Princeton University Press, (1949) 1971.
211:, the most important composer of the next generation, used
185:
with a red notation heart of notes within the larger heart.
759:
Einstein, Alfred. The Italian Madrigal, transl. Krappe,
318:
With the significant shift of style of composers of the
223:, as well as another lament, this time for the composer
27:
which when performed are unnoticeable by the listener.
734:
Zeitschrift fĂĽr internationazional Musikgesellschaft,
365:(the father of the physicist), was opposed to it but
80:, where letters are embedded in the work using their
1383:
1257:
1224:
1104:
987:
884:
466:, and the Brobdingnagian one in the equally obtuse
193:(ca. 1380-ca.1440). Cordier's chanson about love
647:A modern transcription and music media file of "
695:Journal of the American Musicological Society.
862:
661:Bergsagel, John. "Cordier's Circular Canon."
8:
752:
750:
732:Einstein, Alfred. "Augenmusik im Madrigal."
1424:
869:
855:
847:
284:Missa L'homme armé super voces musicales
219:a lament over the death of the composer
780:120:1636 (June, 1979), pp. 497 and 499.
601:
431:for two violins the note values in the
613:
611:
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356:Madrigali a quattro, cinque e sei voci
665:113:1558 (Dec., 1972), pp. 1175-1177.
197:is in a heart shape, with red notes (
7:
776:Steele, John. "Lamenting Marenzio."
681:MĂĽnster. Westfalen (1987) pp. 27-46.
564:Hans-Christoph Steiner's score for
264:notated in a circle and a canon by
31:Difficulties in defining eye music
23:) describes graphical features of
14:
697:43:No. 1 (April 1990), pp. 43–98.
532:The beauties of many examples of
1434:
1433:
1423:
723:3:4 (Autumn, 1984), pp. 340-362.
793:Lang, Paul Henry. "Editorial."
679:Gesellschaft fĂĽr Musikforschung
369:approved. In the 20th century,
797:35:3 (July 1949), pp. 437-447.
1:
172:Tout par compas suy composés.
547:In futurum (ZeitmaĂź-zeitlos)
215:eye music in his well-known
203:Tout par compas suy composés
135:part is written entirely in
48:Eye music and puzzle-solving
1234:History of music publishing
229:Absolve, quaesumus, Domine.
119:Eye music for the performer
1476:
314:(From an 18th-century MS.)
1439:Category:Musical notation
1419:
1305:Numbered musical notation
1096:Scientific pitch notation
721:The Journal of Musicology
310:'s 6-part circular canon
100:puzzle remains unsolved.
1086:Helmholtz pitch notation
1429:List of musical symbols
1300:Nashville Number System
826:"5 Pittoresken, Op. 31"
979:Transposing instrument
795:The Musical Quarterly
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315:
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186:
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129:Stravaganze d’amore,
1325:Percussion notation
649:Belle, bonne, sage.
574:'s data structures.
213:black note notation
824:Schulhoff, Erwin.
822:Third movement of
778:The Musical Times,
663:The Musical Times,
576:
421:
377:in the madrigal."
316:
279:Allegory of Music.
270:
260:with an anonymous
195:Belle, bonne, sage
187:
183:Belle, bonne, sage
175:
125:Benedetto Marcello
1447:
1446:
1391:Mensural notation
352:Senza il mia sole
289:mensuration canon
258:Allegory of Music
217:Nymphes des bois,
141:equal temperament
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1460:Musical notation
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954:Rehearsal letter
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551:Cornelius Cardew
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445:"Brobdingnagian"
439:", and, in the
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363:Vincenzo Galilei
209:Josquin des Prez
105:canon perpetuus,
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395:Gulliver Suite.
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159:The Renaissance
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78:soggetto cavato
70:time signatures
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429:Gulliver Suite
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74:key signatures
56:works such as
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348:Luca Marenzio
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312:Sphera mundi.
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1310:Klavarskribo
1285:Figured bass
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1159:Appoggiatura
1106:Articulation
904:Abbreviation
833:. Retrieved
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657:
648:
642:
627:
622:
565:
546:
531:
522:George Crumb
518:
515:20th century
503:
488:
473:
458:
428:
422:
394:
374:
360:
355:
351:
344:
332:eighth notes
324:madrigalists
317:
311:
293:Holy Trinity
282:
278:
271:
257:
232:
228:
216:
207:
202:
194:
188:
182:
171:
147:
145:
128:
122:
112:
104:
102:
98:contrapuntal
92:
90:
54:contrapuntal
51:
34:
20:
16:
15:
1396:Music stand
1270:Chord chart
1249:Scorewriter
1226:Sheet music
1024:Dotted note
959:Repeat sign
934:Ledger line
437:Lilliputian
375:imitazione,
336:whole notes
275:Dosso Dossi
254:Dosso Dossi
127:'s cantata
1370:Shakuhachi
1345:Ekphonetic
1330:Simplified
1295:Lead sheet
1169:Grace note
1034:Note value
1029:Grace note
997:Accidental
596:References
414:Play gigue
340:half notes
239:white note
199:coloration
181:Cordier's
137:enharmonic
86:retrograde
21:Augenmusik
1365:Swaralipi
1355:Kunkunshi
1315:Tablature
1280:Eye music
1164:Glissando
1139:Fingering
924:Dal segno
813:, p. 234.
809:Einstein,
572:Pure Data
354:from his
308:John Bull
235:mannerism
17:Eye music
1454:Category
1375:Znamenny
1216:Tonguing
1201:Staccato
1154:Ornament
1129:Dynamics
1081:Interval
1044:Notehead
1019:Cue note
811:Op. cit.
761:Sessions
738:Sessions
579:See also
567:Solitude
555:Treatise
545:'s 1919
433:chaconne
425:Telemann
391:Telemann
320:Humanist
299:Humanism
245:period.
243:Humanist
221:Ockeghem
152:Telemann
133:continuo
1384:Related
1350:Gamelan
1340:Chinese
1320:Parsons
1191:Portato
1174:Mordent
1149:Marcato
1134:Fermata
1124:Damping
1119:Caesura
1076:Tremolo
1007:natural
919:Da capo
381:Baroque
367:Zarlino
266:Josquin
82:solfège
1206:Tenuto
1144:Legato
1114:Accent
1071:Tuplet
835:9 July
765:Strunk
763:, and
742:Strunk
740:, and
634:
443:, are
109:rounds
25:scores
1360:Neume
1184:Trill
1179:Slide
1066:Tacet
1056:Pitch
1012:sharp
964:Tempo
949:Scale
944:Ossia
886:Staff
441:gigue
435:are "
262:canon
72:, or
66:rests
62:clefs
42:canon
1196:Slur
1061:Rest
1049:stem
1039:beam
1002:flat
939:Mode
914:Clef
837:2022
632:ISBN
549:and
496:and
408:and
146:The
131:the
93:type
91:The
40:and
1211:Tie
909:Bar
791:see
757:See
717:see
691:See
675:See
628:see
553:'s
451:of
427:'s
423:In
393:'s
342:).
277:'s
256:'s
170:'s
150:by
1456::
899:15
828:.
749:^
604:^
557:.
524:.
459:32
338:,
330:,
227:,
68:,
64:,
894:8
870:e
863:t
856:v
839:.
651:"
504:8
489:4
474:1
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