MIDLANDS STATE UNIVERSITY

FACULTY OF SOCIAL SCIENCES

DEPARTMENT OF MUSIC BUSINESS, MUSICOLOGY AND

TECHNOLOGY

NAME………………………………………VERNON NHERERA

REG NUMBER……………………………..R2216357Q

MODULE……………………………………MBMT 134

LECTURER…………………………………MRS V. ALFANDIKA

ASSIGNMENT: Critically examine the extent to which Johann N. Forkel’s five-fold

approach to musicology is still applicable to the study of music in the 21st century.
80%
This is a well-thought piece of work. Well done!
Music is defined as the art of studying sound while musicology the study of music is further
explained by different frameworks that include Johann Nicolus Forkel’s five model, Guido
Adler model and Friedrich Chrysander’s model. All these models helped to create a
foundation from which the 21st century music would be birthed. The applicability of the
model by Johann N Forkel’s model is limited as times have changed and with it the music
interpretation, performance and creation, but however, it can be traced that his contributions
are still relevant in the 21st century. It is thus against this background that this e essay seeks to
enlighten the gap between the works of Johann N Forkel and the present day music.

Mathematics of sounds¶

Mathematics of sounds is a phenomena that addresses the calculations in relation to music

composition and presentation. This conceptconcepts traces back to Pythagoras and his
discovery on how music is built on a similar foundation. Although ancient the words of
Pythagoras still resonateresonates true in the 21st century supporting the applicability of the
model by Forkel. Pythagoras is quoted by the American Mathematical society to have said,
"There is geometry in the humming of the strings, there is music in the spacing of the
spheres." The Pythagorean scale not only formed the basis of a musical scale but underlines
the concepts of intervals and pitch as presently understood.

Wright (2009) summarised music and mathematics as inseparable concepts that are
interlinked. Wright seeks to show that pitch which is built from frequencies can be measured
mathematically in circles. This is in line with the theory of Pythagoras and takes a step
further to identify how musical intervals are ais a mathematical issue more than an art. The
distance between a set of notes can contribute to tones and semitones, the basis of which
creates music. The applicability of this concept is in music composition. Whether one has a
staff and pencil or a computer software, the basis is in understanding the placement of these
notes to produce music thus making the works of Forkel true and applicable. Good
Physics of sounds

White &White, (2014) argues in support of Pythagoras in defining the link between music
and mathematics as an expression of harmony of nature. Furthermore, the pair seek to define
that physics of sound explores the principle of music acoustics. This was very important in
the time of Forkel as the string instruments were gaining popularity. In addition to acoustics,
under this concept Forkel sought to define amplitude, frequency and spectrum principles on
music. Therefore, the physics of sound seeks to establish an understanding of what sound is
in terms of the psychologic and physiologic aspects and traces it to the point at which it is
received meaning the means by which it travels is also important.

Acoustics is defined as the science that deals with the production, control, transmission,
reception, and effects of sound (Merriam Webster Date??). This was important in the time of
Forkel that composers be acquainted with this concept or otherwise dissonance would be the
order of the day. Although it was key in branching the framework for musicology it is indeed
magnified in the 21st century. This is as a result of how the 21st century has made music a big
industry and a money making industry. Sound engineers are intrigued by the study of waves
to meet the needs of a large audience. In Newspaper of the Zimeye article dated 1 October
2022, Jah Prayzer team is quoted to say “The PA system was way out of the spec range we
agreed to and the music lovers had a difficult time with the audibility of the Artists who were
performing on stage.” The management team may have usedhave had used this as an excuse
for failing to perform but indeed an understanding of the physics of sound was at play here.

The applicability of this concept is in the creationin creation of musical instruments. The
proper understanding will lead the musical instrument artist to amplify the sound to suit a
wider audience. Therefore, Forkel in the 21stin 21st century is still applicable in the study of
music and performance. The principles he laid are the foundation of better music from
performing artistsartist as they are drawing from the framework to justify proper music for a
large audience. Good
Music Grammar
In this principle as Forkel used reason and progress to justify the model, takes meaning in
that music ought to be interpreted and shared. The ability to play instrumentsinstrument or
pieces of music ranges from the proper understanding of the notation system. Sight reading is
in Forkel’s standard the beginning of appreciating music and is justified in this area as his
emphasis on proper notation as part of musicology prompted the means by which music
would be shared and played properly. The notations from ancient Greek to the Roman church
and to the 21st century signifies how valuable this part of the framework was and is in
defining music.

In that vein, important music will need to follow a certain notation for it to be proper. In
today’s era, a National Anthem forms an important part of a society and country. It is revered
in special occasions and follows a background of notation so that it’s reproduced the same
every time it is presented. ThisIn this is the model of Forkel at work as any instrument played
will need the artist to properly understand the notation system so as to play the national
anthem properly. The model thus was essential in emphasizing the need for notation in the
study of music meaning that notations and music are inseparable.

Forkel understood that music had to take a certain structure for it to be complete. Indeed the
early Gregorian chants did influence how music would be written as the composers knew the
language of music. Music grammar component of the framework seeks to define the language
of music and recognises the punctuation in music. Slurs and dots are but part of a bigger
picture that seek to define the beauty of music. Good

Music Rhetoric

Rhetoric in the simplest sense is the art or the craft of persuasion or discourse (Naum,n.d).
Naum,(n.d) continues to emphasise that the use of persuasiveness is central to music and a
very important concept in music. The background of this concept in this framework was
perhaps influenced by the influence of the church, whose agenda was to instillinstil
religiousreligion loyalty. The biblical language in itself was rhetoric with parables, and
psalms that meant the audience was influenced to incline itself towards the church. This
influence continued to affect the composition of music. Again judging from the poetic nature
of the times, rhetoric inspired great music as it fascinated the mind. It was so important that
its use was regarded to identify the most educated class of the society (McCreless, 2008).
It should be noted that the rhetoric music took sustenance during the baroque period where
passion in music moved audiences. It was not only good that the likes of Mozart and the 40th
symphony took centre stage but indeed ensured that the rhetoric aspect of tricolon was passed
on to the next generation. In a similar vein, rhetoric in our day separates great music from
monotonousfrom the monotonous one. Music is a big industry and as such should attract a
wider audience for it to fetch the intended targets. On an international level “Rap music” as
signified by Tupac Shakur in his hit song “changes’’ illustrated the level of injustice and
social ills faced by the society which prompted criminal behaviour in the black society. On
local grounds the works of Oliver Mutukudzi in his award winning “Ndakuvara” hit song
shows that the 21st century has an equal taste in rhetoric just as when the model was initially
crafted. Good

Music Criticism

Ellis (1995) argues that music criticism was aimed at composers and performers or aspired to
educate the audience on music taste. This is a very important concept of music criticism
which is defined best from understanding what music meaning is (Herzog, 1995). Only after
understanding what the meaning of music is can one be able to more fully criticizecritic
music. Walker, (1998) makes an interesting observation of how music criticism branches off
fromof from aesthetics to look deeper into aspects of judgements related to both composition
and performance. Ellis (1995) however has a profound definition as the component of the
audienceof audience is inclusive.

In the 21st century this is still relevant although now the best critic is in the audience. The
audience chooses what is good and what is bad. Although there are stillis still a few who seek
to establish the proper conduct of music be it in studios or playing instruments, the biggest
critic remains the audience. As an example, the genre of Zimbabwe dancehall is characterised
by musicians that do not have the proper understanding of music composition but are well
accustomed with the needs of the society. It would be baseless to criticizecritic their music on
the basis of music composition and critics may hold sway but it is ultimately the audience
that determinesdetermine the success of some of the musicians. ThisIn this is the alienation
from what Forkel had in mind originally when he drafted this concept.
The debate favoured Forkel in the 21st century but however it can be noted that the model is
not all inclusive of musicology studies in the 21st century. The model for example, does little
to acknowledge the history of music. The framework is biased towards the western culture
and fails to accommodate other spheres related to musicology. It is thus difficult to try and fit
the framework to any non-western cultures. Musicology in its truest sense is the study of
music and the mastery of which need not be confined to the Forkel framework as it cannot
bracket all aspects of music. Well argued

Age of technology perhaps was an important concept that Forkel missed in the drafting of his
framework. Music and technology are undeniably connected and the relationship cannot be
savoured by the framework of Forkel. This in summary means that the applicability of the
framework by Forkel is thus limited. Auto tune for example not only putsput the music within
the expected pitches but makes the music very appealing in contrast to acoustics that were
heavily promoted by Forkel. The music critics, althoughcritics although important in his time,
are puttime is put to all nothing by the age of technology. YoutubersYou tubers, media
fanatics and anyone with access to the internetto internet can easily criticise music. Music is
that important and without knowledge of notations and rhetoric, the audience hails what they
feelfill is best to them and thus any qualities that would have qualified one as a musical critic
are put to void. Good

Business aspect of musicology was an important part as music had an aspect to drivedriver
political agendas. Music business has only been magnified in the 21st century. The model fails
to acknowledge the role of entrepreneurship in music. How the business aspect should be
considered as a complete and independent arm of musicology. The framework ought to have
included any aspect of business to it and with this aspect missing, the framework is lacking a
key ingredient to its applicability in the 21st century. It is thus in summary, tea without sugar
or soup without salt. Good

In conclusion, Forkel sought to umbrella important concepts that would enlighten and
broaden the study of music. His ideas are still very applicable in the 21st century and
provideprovides a foundation from which music can grow. However his ideas are just but the
basis that can provide a solid start in the adapting and progressive 21st century. Musicology
has an infinite aspect to it and will be difficult to confine it to a limited number of aspects.
Gender, history and culture can never be separated from musicology and one could never
have proper justice to music if a fence of framework is put. It would bewould rather be wise
to expand studies around the mentioned areas and any as may arise. Good

References

American Mathematical Society.Retrieved

from:http://www.ams.org/publicoutreach/math-and-music Accessed on 24 October 2022

Ellis,K. (1995).Music Criticism in nineteenth-century France. London.

Herzog,P.(1995). Music Criticism and Musical Meaning. The Journal of Aesthetics and Art
Criticism.Retrieved from https://www.jstor.org/stable/431355 Accessed on 25 October 2022.

Naum,K. (n.d).Introduction to the introduction of Music Rhetoric. Retrieved from

https://keehun.com/writings/introduction-to-the-introduction-of-musical-rhetoric Accessed on
24 October 2022

McCreless, P.(2008). Music and rhetoric. Cambridge University Press.London. Retrieved

from https://doi.org/10.1017/CHOL9780521623711.029 Accessed on 24 October 2022.

Walker,A (1998). Musical Criticism.Retrieved from

https://www.britannica.com/topic/musical-criticism. Accessed 25 October 2022.

White,E,H. & White,D,H.(2014). Physics and Music: The Science of Musical Sound. Dover
Publications,Inc.New York.

Wright,D.(2009).Mathematics and Music. American Mathematical Soc.United States of

America.

ZIMEYE.BREAKING: Jah Prayzah’s Gweru Show Flops. Retrieved from

https://www.zimeye.net/2022/10/01/breaking-jah-prayzahs-gweru-show-flops Accessed 24
October 2022