Music, A Universal Language
Some have tried to introduce a lexicon of music and a syntax of music and they all have failed because apart from the notes that have been rather stable since the 18th century, and the rhythms that have changed from one century to the next and yet are always the same, binary, ternary and quaternary, two-fold, three-fold or four-fold with all possible combinations with the units of length, once again rather stable across ages, all the rest is the result of the art of the composer, his or her emotions, and the meaning is, altogether on the side of the composer, on the second side of the interpreters and on the third side of the audience, the result of the empathy and feelings of each one person in these three fields.
When you add words onto this music, sung or spoken, then these words have their own meaning, their own syntax and these lexical and syntactic combinations are amplified in a way or another, positively or negatively, by the music itself.
I celebrate here many composers and many styles, many periods and many genres. Most of the various sections of this document refer to wider, at times a lot wider, documents that may count many dozen pages or even a few hundred pages.
Patience and persistence — equanimity in one word — have to be your two bread and butter, bread and water, butter and cheese (with bread if possible), cheese and fruit and I am sure many of you will see many different meanings in my way of looking at things.
Enjoy then this forest of many different trees, including Lao She’s reverie trees that only grow on Mars. Some pages are in French, which is good for dreaming.
Dr. Jacques COULARDEAU