Music in Renaissance Magic: Toward a Historiography of Others

封面
University of Chicago Press, 1994年11月15日 - 291 頁
Magic enjoyed a vigorous revival in sixteenth-century Europe, attaining a prestige lost for over a millennium and becoming, for some, a kind of universal philosophy. Renaissance music also suggested a form of universal knowledge through renewed interest in two ancient themes: the Pythagorean and Platonic "harmony of the celestial spheres" and the legendary effects of the music of bards like Orpheus, Arion, and David. In this climate, Renaissance philosophers drew many new and provocative connections between music and the occult sciences.

In Music in Renaissance Magic, Gary Tomlinson describes some of these connections and offers a fresh view of the development of early modern thought in Italy. Raising issues essential to postmodern historiography—issues of cultural distance and our relationship to the others who inhabit our constructions of the past —Tomlinson provides a rich store of ideas for students of early modern culture, for musicologists, and for historians of philosophy, science, and religion.

"A scholarly step toward a goal that many composers have aimed for: to rescue the idea of New Age Music—that music can promote spiritual well-being—from the New Ageists who have reduced it to a level of sonic wallpaper."—Kyle Gann, Village Voice

"An exemplary piece of musical and intellectual history, of interest to all students of the Renaissance as well as musicologists. . . . The author deserves congratulations for introducing this new approach to the study of Renaissance music."—Peter Burke, NOTES

"Gary Tomlinson's Music in Renaissance Magic: Toward a Historiography of Others examines the 'otherness' of magical cosmology. . . . [A] passionate, eloquently melancholy, and important book."—Anne Lake Prescott, Studies in English Literature
 

讀者評論 - 撰寫評論

我們找不到任何評論。

內容

Approaching Others Thoughts before Writing
1
Anthropology and Its Discontents
4
Occult Thought and Hegemonic Histories
9
The Hermeneutic Recognition of Others
20
The Rehabilitation of Hermeneutic Dialogue
27
Archaeology Genealogy and Hermeneutic History
33
The Scope of Renaissance Magic The New Magic
44
The World of the Renaissance Magus
45
Substance Figure Sound
128
Seeing and Hearing in the Renaissance
134
Musical Possession and Musical Soul Loss
145
Possession Shamanism and Soul Loss
148
Examples from Nonelite Culture
154
Possession and Soul Loss in Ficinos Furors
170
Thoughts on the Politics of EarlyModern Mysticism
183
An Archaeology of Poetic Furor 15001650 Foucaults Epistemes
189

Agrippa versus Foucault
52
Locating Occult Musics
61
Modes and Planetary Song The Musical Alliance of Ethics and Cosmology Structures and Their Reproduction
67
Structural Transformations circa 1500
77
Structure and Event
97
Ficinos Magical Songs
101
Spirit Soul Music
105
Word Image Music
115
Phantasmic and Demonic Song
121
Magical Furor
194
Analytic Furor
206
Poetic Furor and Archaeological Ambivalence circa 1600
212
Archaeology and Music Apropos of Monteverdis Musical Magic
229
Believing Others Thoughts upon Writing
247
Passages Translated in the Text
253
Works Cited
271
Index
283
版權所有

常見字詞

關於作者 (1994)

Gary Tomlinson is the John Hay Whitney Professor of Music and the Humanities and director of the Whitney Humanities Center at Yale University. The most recent of his many books is A Million Years of Music . nbsp;

書目資訊