time measurement. It may also be ap–
plied to the design of an entire piece
of music,-a design which is the result
of the fusion of harmony, time, and
acoustical space. This is what I have
called analogically the fourth dimen–
sion of music.
2)
Space.
Mr. Leibowitz wonders
what music has to do with space. He
is
perhaps not so well acquainted with
the laws of acoustics and thei-r influ–
ence upon musical theory and aesthetics.
Helmholtz's book on acoustics, and
Hindemith's
Craft of Musical Compo–
sition
might be useful to him in this
connection. I would also like to point
out to him that music is a physical
thing. And although music is an inven–
tion of the human mind, it is also a
phenomenon that must be
heard
and
performed.
As such it is a spatial thing,
and a thing in space.
3)
Linear harmony.
Mr. Leibowitz
asks: "What is linear harmony (the
definition of harmony being that it
deals with chords)?" H ere Mr. Leibo–
witz reveals his ignorance of the most
elementary musical terms. Of course,
linear, or horizontal, harmony refers
to the function and relation of inter–
vals in a melodic line. This definition
can be found in harmony textbooks,
and if Mr. Leibowitz neither knows nor
understands it, he should stop writing
about music.
As for Mr. Leibowitz's lament about
the state of contemporary musical af–
fairs, I presume that his "total engage–
ment" in the cobwebs of twelve-tone
dogma . . . . coupled with ignorance
and arrogance, compels him to negate
all contemporary music which does not
conform to this system. This
is
an old
pose of the propagandists of atonality,
which by now has become thorougbly
stale.
Nicolas Na bokov
LAWRENCE R. MA XWELL- BOOKS
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