Review: “17 Perspectives on Music History” by Wakio Tamura and Fumio Narumi

(Originally posted on April 10, 2002)

This book can be described as an ambitious attempt to re-examine music history not as a mere list of historical facts, but within the multi-faceted context of “thought, art, and society.” As the title suggests, it explores the music of a wide range of eras, from Ancient Greece to Tetsuya Komuro, through the lens of “17 perspectives.”

Typically, music history books introduce composers and works chronologically. This book boldly overhauls that style, delving into the philosophical backgrounds and social conditions that gave birth to the music of each era, and how it interacted with other art forms.

Part One traces the shift from a value system that permeated the Western worldview until the Middle Ages—where “an absolute exists before the ‘I'”—to one where “the ‘I’ precedes God.” This transition marked the beginning of a “journey to explore the ‘I’.”

The book approaches the essence of music through a philosophical lens and concrete musical analysis, covering concepts like the awakening of the “I” and music in the Renaissance, the concept of “emotional expression” in the Baroque period, the expression of “personality” in the Classical era, and “consciousness = time = music” in the Romantic period.

The subsequent Part Two traces the history of music by unraveling its connections with other arts. For example, around the time perspective was invented in the world of painting, the early Renaissance composer Josquin des Prez established his own unique compositional technique, “pervasive imitation.”

This was a groundbreaking development, akin to the introduction of perspective in music. In earlier music, many vocal parts were intricately intertwined, making it difficult for the listener to find a focal point. However, pervasive imitation organized the music and created depth (a sense of perspective) in each part, allowing listeners to direct their attention more easily to specific parts.

The authors state that this “depth and space created by perspective” not only placed the world within geometric laws but also defined “the existence of the ‘I’ that gazes upon it.” This led to the establishment of the ‘I’s’ position, shifting the protagonist of art from God to humanity.

Elsewhere, the book discusses Impressionism, examining the commonalities and characteristics between the brushwork of the Impressionist painter Turner and the orchestration of Debussy. It’s fascinating how the book points out that “the key element that defined the Impressionist sound was the use of hard-sounding instruments, in a manner that was anything but Impressionistic,” and then clarifies this through specific musical examples.

While the book navigates music history thematically, its most noteworthy feature is its scope, which ranges from the music of Ancient Greece to modern popular music, specifically the work of Tetsuya Komuro. The authors’ stance of considering music history beyond its classical confines to include modern musical culture and society is a bold endeavor rarely seen in conventional music history books.

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To unravel history might be described as understanding the “now” by comprehending the flow of events leading up to it, and through that, discovering something universal. A similar desire likely exists when unraveling music history. And there are good books on music history that fulfill this desire.

This book, in that respect, looks at music history from a unique perspective. It’s as if there are 17 time machine exits prepared for you. Guided by the book, you can encounter the music of a certain era, share the authors’ questions and insights, and then decide whether to explore that era further on your own or to travel to another era via the time machine. It offers a flexible music history experience, like moving from point to point.

I personally have a great affinity for books that don’t just list historical facts but also present the authors’ own thoughts. The feeling of walking alongside and thinking with the authors can be a refreshing tonic amid the somewhat solitary work of composition.

Table of Contents for “17 Perspectives on Music History”

About the Authors

Wakio Tamura

Born in Nanao, Ishikawa Prefecture. Graduated from the Department of Musicology at Kunitachi College of Music in 1981, and completed his master’s degree (majoring in musicology) at the same university’s graduate school in 1983. Currently an associate professor at Shobi Gakuen Junior College. (Quote from this book)

Fumio Narumi

Born in Mutsu, Aomori Prefecture. Graduated from the Department of Musicology at Kunitachi College of Music in 1984, and completed his master’s degree (majoring in musicology) at the same university’s graduate school in 1986. Studied in Leipzig, Germany from 1988-90. Currently a full-time lecturer at Shobi Gakuen Junior College. (Quote from this book)