Musicography

The unanimous testimony of scores and of musicography is to this effect, and establishes, as an inviolable rule, the close on the inferior dominant.

Other now standard histories of music in Latin American nations that skirt developments after 1820, 1901, or 1950 emphasize an ever-present problem in Latin American musicography. The only histories of music in their nations with which reigning Latin American composers are pleased are those narrated by themselves.

We may jump a century and a quarter in English musicography but will find that with a very few exceptions the romantic effusion deepened while scholarship lessened, both of them considerably.

The short-hand of musicography alone, separated from the material accompanying it, might, we think, be found useful in no ordinary degree to the musical world.

This work is divided into two parts, logography, or universal writing of speech, and musicography, or symbolical writing in music; the first of which offers a new set of phonetic characters as a substitute for our degenerated logographic system, and the second a reformation of our musical notation; a short-hand form of each system being joined to it.

There are continually springing up, however, advocates of new systems of musicography the adoption of which would reduce all our musical heir-looms to the level of waste paper, and most existing musical science and skill to the level of those of these advocates; for it is remarkable that no scheme for the reformation of musicography has ever been proposed by any person of acknowledged musical science or skill.