One for Sorrow

And just to add, which you might find amusing, we're reading this stuff not with an eye towards discussing texts at all, but trying to get at different ways of understanding music, either with or without texts. In some ways the listener becomes even more important, which opens up a very interesting argument; to what degree can music be 'understood' without an understanding of how its syntax functioned at that point in time. Is it a legitimate enterprise to listen to 16th century polyphony with radically different 18th century tonal frameworks in ear? Does music even mean anything to begin with? Fun questions, actually.