The Why and the Wherefore of the European War: Bible Study (Classic Reprint)

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I would add that there is a “middle way” (with apologies to Buddhists): begin with a fixed scale or mode and then add pitches as required for harmony, counterpoint, transposition, modulation, and so on. This is the approach I use in much of my work. Additionally, pieces composed within a sufficiently large gamut, such as Partch’s 43-tone scale or Ben Johnston’s hyperchromatic scales, may be indistinguishable from “free style” compositions. Wherefore stood originally as one of a series of very tightly related word-pairs differing only in whether they began with wh- or they began with th-: It was not until about five years later that I had a second and more revelatory encounter with JI. In the summer of 1975, I enrolled in a class called “Intonation in World Music,” presented by Lou Harrison at the Center for World Music in Berkeley, California. In this course, I learned the fundamentals of JI, its relation to various musical cultures, and how to work with musical ratios. Equally important, I had the experience of JI in conjunction with a very different musical aesthetic. At the time, Lou and Bill Colvig were building their first American gamelan, later known as “Old Granddad” (the instruments used in the Suite for Violin and American Gamelan and La Koro Sutro). Students were invited to perform in a concert on these instruments at the end of the term and several also composed for the ensemble (I did not). Old Granddad was tuned in a straightforward just D-major scale, about as different from Partch’s scale as possible in the realm of JI. Several of the pieces presented were in a minimalist/proceduralist style, a compositional practice that interested me at that time. The simple intervals of 5-limit JI, heard in that context, were stunningly beautiful. That experience changed my life. I came away from that class and concert with both the tools necessary to understand JI and the germ of a compositional and instrument-building program that culminated in the creation of Other Music’s American Gamelan in 1977–78. 4 Frodo gazed at the ring with awe; for suddenly it seemed to him that he understood. ‘Yes,’ she said, divining his thought, ‘it is not permitted to speak of it, and Elrond could not do so. But it cannot be hidden from the Ring-bearer, and one who has seen the Eye. Verily it is in the land of Lórien upon the finger of Galadriel that one of the Three remains. This is Nenya, the Ring of Adamant, and I am its keeper. He suspects, but he does not know — not yet. Do you not see now wherefore your coming is to us as the footstep of Doom? For if you fail, then we are laid bare to the Enemy. Yet if you succeed, then our power is diminished, and Lothlurien will fade, and the tides of Time will sweep it away. We must depart into the West, or dwindle to a rustic folk of dell and cave, slowly to forget and to be forgotten.’ The phrase is an interesting instance of the way English speakers can turn one part of speech into another without breaking stride. Conventional grammar would say that why is an adverb, but here it lurks in the guise of a noun, meaning “reason or explanation”. Likewise wherefore.

The Strict Style, in addition to being the “vastly predominant world method,” is the method used in many works by composers including Lou Harrison himself, Terry Riley, La Monte Young, Michael Harrison, and many others. This approach is more or less necessary if one intends to compose for a fixed-pitch instrument, such as a retuned piano or harpsichord or a refretted guitar, or an ensemble such as the Harrison/Colvig American gamelan. (Composing in the free style is a subject for advanced students, and is beyond the scope of this article.) If you have some experience with composition, you already have some idea of what sorts of scales, modes, and harmonic progression interest you and what their expressive properties are. Try mapping different versions of these figures onto a JI lattice like that in Figure 5. (Learn to construct such lattices for yourself; they’re a vital tool for understanding JI.) You will discover that there are many different versions of familiar resources such as pentatonic or diatonic scales. In 12TET, there is only one whole tone and one semitone, which can be arranged in a limited number of ways to construct five- or seven-tone scales. (There are only eleven unique intervals smaller than an octave in 12TET, though they may, in some cases, be called by different names.) In contrast, JI offers a much larger variety of such intervals (see Table 3), which can be used in constructing scales that are at once familiar and novel. Different versions of familiar scales will have different expressive properties and tonal centricities. Once one has chosen a mode or gamut, what then? Take time to familiarize yourself with all of the tones and the intervals that connect them. By this I mean familiar both aurally and computationally. Which intervals feel stable and which are in need of resolution? What melodic or harmonic figures lead to or away from the stable intervals?You should probably get used to this if you’re reading Tolkien, especially The Silmarillion. One thing you should keep in mind is that your two quotations are respectively from the first two sections of the book you are reading, and these even more than the parts which follow Tolkien intentionally cast into language that would remind the reader of the King James Version of the Bible, because it was telling its own story of creation. Notice the archaic pronoun ye used in your first quote. As an example of this, consider Hebrews 12:1 from the King James: "Wherefore seeing we also are compassed about with so great a cloud of witnesses...", here meaning therefore.

Hooker Eccl. Pol. v. lxiii. §1 ― The true reason wherfore Christ doth loue belieuers is because their belief is the gift of God.You have asked for a scenario in which only one of wherefore or therefore will work and they aren’t interchangeable. Here’s a good one: The focus of the book is on motivations for and against nuclear proliferation. An analysis of these motivations leads the editor to make detailed recommendations aimed at halting the spread of nuclear weapons. He’s asking out of what earlier reason he was born, not to what future purpose. He’s just asking why; you can’t start a question with therefore. Noun Eschewing cheap shots, McBride favors a careful, winding excavation – reaching into history for the whys and wherefores of his novels’ crowded casts, while delivering whopper stories with electric finales. — Erin Douglass, The Christian Science Monitor, 12 Oct. 2023 Soccer, though, did not waste time wondering about the whys and wherefores. — Ahmed Al Omran, New York Times, 13 July 2023 The political whys and wherefores are important — and might be left to another piece. — Jay Nordlinger, National Review, 14 May 2023 As in most of Tim and Eric’s sketch humor, there are few whys and wherefores. — Austin Considine, New York Times, 26 Mar. 2020 Julian Fellowes, a master writer who understands so well all the peculiarities of time and place, manners and historical significance of the whys and wherefores of his fictional inhabitants, is to be applauded. — Los Angeles Times, 11 Oct. 2019 In addition to gleaning the why and wherefore behind America’s foundational document, teenage listeners will meet up with the Declaration of Independence and a roster of seminal Supreme Court decisions. — Louis Bayard, New York Times, 28 May 2018 The book casts its spell in revealing the whys and wherefores of the killings, as investigated by Burke’s onetime high school classmate, Rob Barrett, a Boston FBI agent whom Burke likes nothing better than to humiliate. — Lloyd Sachs, chicagotribune.com, 21 May 2018 Harris will explain the whys and wherefores of rituals and the choreography of services. — Courant Community, 5 June 2017 See More

I sat down at the table, closed my eyes, and took my first deep breath in what seemed like a year or so. The old woman looked at me and didn’t ask any questions, wherefore I gave her no answers. I really wished you were here, Kiera, because I felt the need to confess and to have some help sorting out what had just happened. After only a brief study of intervals it becomes clear that there are two ways of composing with them: 1) arranging them in a fixed mode, or gamut, & then composing within that structure. This is the Strict Style, & is the vastly predominant world method. However, another way is possible—2) to freely assemble, or compose, with whatever intervals one feels that he needs as he goes along. This is the Free Style… 7 Now Sauron prepared war against the Eldar and the Men of Westernesse, and the fires of the Mountain were wakened again. Wherefore seeing the smoke of Orodruin from afar, and perceiving that Sauron had returned, the Númenóreans named that mountain anew Amon Amarth, which is Mount Doom.

Originally published in 1985, SIPRI's study suggests some answers to these questions. The book examines the situation in a number of countries of key importance for non-proliferation: the two nuclear-weapon states which have declined to join the 1968 Non-Proliferation Treaty (China and France); a group of nuclear ‘threshold’ states also remaining outside the Treaty (Argentina, Brazil, India, Israel, Pakistan, South Africa and Spain); and a group of states, both developed and developing, which for various reasons have joined the Treaty (Canada, Egypt, South Korea, Sweden, Switzerland and Taiwan). Wherefore is a word that first arose in Middle English and saw much use in Early Modern English as well, dwindling then across the 18 th and 19 th centuries, and whose use is today mostly limited to literary, poetic, and oratorical registers. You found it in literature, where it still at whiles appears. It is also still found in modern ecclesiastical writings, probably because of how frequently it occurs in the King James Version of the Bible, which is in Early Modern English.