Reflection III

2021 ◽  
pp. 223-231
Author(s):  
Bryan White
Keyword(s):  
Seventeenth Century ◽  
Musical Performance ◽  
Musical Thought ◽  
Music Of The Spheres

By the beginning of the seventeenth century speculative music, the branch of musical thought the origins of which can be traced back to Pythagorean and Platonic concepts of the ordering of the cosmos through the proportions of musical intervals and of the music of the spheres, had diverged completely from practical musical performance and composition. Thomas Morley, in his ...

A Christian Art? Søren Kierkegaard’s Views on Music and Musical Performance Reconsidered

2020 ◽  
Vol 25 (1) ◽  
pp. 3-13
Author(s):  
Nils Holger Petersen
Keyword(s):  
Negative Evaluation ◽  
Musical Performance ◽  
Extensive Discussion ◽  
Musical Thought ◽  
Christian Art ◽  
Don Giovanni ◽  
The Aesthetic ◽  
Attitudes Toward Music ◽  
Journal Entries ◽  
Point Of Departure

Abstract While the only extensive discussion of music in Kierkegaard’s work is the famous treatise based on Mozart’s opera Don Giovanni in the first part of the pseudonymous Either/Or (1843), Kierkegaard did write other brief passages, in which he made comments on musical aspects. Two recent articles have pointed to attitudes toward music in such passages which seem to differ from the negative evaluation of music as a religious or theological medium in the first part of Either/Or by the fictitious aesthete A. With a point of departure in the two mentioned articles, I attempt to further discuss the possible relationship between the ethical and the aesthetic in Kierkegaard’s musical thought, involving passages from both parts of Either/Or as well as a few journal-entries. Finally, Erika Fischer-Lichte’s distinction between staging and performativity is brought to bear on these issues.

Word-Tone Relations in Musical Thought from Antiquity to the Seventeenth Century

1988 ◽  
Vol 32 (2) ◽  
pp. 357
Author(s):  
Maria Rika Maniates ◽  
Don Harran
Keyword(s):  
Seventeenth Century ◽  
Musical Thought

Word-Tone Relations in Musical Thought from Antiquity to the Seventeenth Century

Notes ◽  
1987 ◽  
Vol 44 (2) ◽  
pp. 267
Author(s):  
Peter Kivy ◽  
Don Harran
Keyword(s):  
Seventeenth Century ◽  
Musical Thought

LA MUSICA NELLA FILOSOFIA NATURALE DEL SEICENTO IN ITALIA

Nuncius ◽  
1986 ◽  
Vol 1 (2) ◽  
pp. 13-47
Author(s):  
PAOLO GOZZA
Keyword(s):  
Seventeenth Century ◽  
Natural Philosophy ◽  
Modern Science ◽  
Italian Renaissance ◽  
Musical Thought ◽  
Cultural Transformations ◽  
Present Description ◽  
First Time ◽  
The Relationship ◽  
Recurrent Theme

Abstract<title> SUMMARY </title>The leit-motiv of the present description of the relationship between music and natural philosophy in Italy in the seventeenth century is a recurrent theme: the mathematical or « Pythagorean » approach to music as opposed to the experimental or « Aristoxenian » approach. During the sixteenth and seventeenth centuries this opposition, rendered pertinent by the cultural transformations that accompanied the consolidation of modern science, gained in complexity and took on original forms and meanings. The present paper, in the first instance, outlines the major traditions of classical musical thought and its medieval heritage. Secondly, it provides a survey of the more significant attempts at renewing musical theory that were carried out during the second half of the Cinquecento in the light of the Italian renaissance of mathematics of the XV and XVI centuries. It continues with an examination of the musical ideas of Galileo and offers a primary documentation of the interest displayed by representatives of the Galilean school in the science of sound during the first half of the Seicento.Finally it discusses, for the first time, the theories of sound of F. M. Grimaldi and D. Bartoli and the musical doctrines of P. Mengoli within the framework of the principal philosophical elements of Italian culture between 1660 and 1680.

Spaces for Musical Performance in Seventeenth-Century Roman Residences

2012 ◽  
Author(s):  
ARNALDO MORELLI
Keyword(s):  
Seventeenth Century ◽  
Musical Performance ◽  
Social Conventions ◽  
Music Making

This chapter investigates the locations and modes of musical performance in the residences of the nobility in seventeenth-century Rome, indicating the differences between this period and the Renaissance. In particular, instances of music-making in the courts of princes and cardinals are identified and described, in relation to considerations of etiquette, social conventions and anthropology. This research, based on first-hand documentary research in the archives of Roman noble families, has revealed unexpected locations for music-making, which cannot always be justified in terms of acoustic or aesthetic criteria. Particular attention is paid to the places where instruments were stored, as recorded in inventories, and their typology.

“The Tears I Shed at the Songs of Thy Church”: Seventeenth-Century Musical Piety in the English Atlantic World

2012 ◽  
Vol 65 (3) ◽  
pp. 691-725 ◽  
Author(s):  
Glenda Goodman
Keyword(s):  
Seventeenth Century ◽  
Atlantic World ◽  
Music History ◽  
American Music ◽  
Departure Point ◽  
Modern Music ◽  
Musical Thought ◽  
Early American ◽  
English Atlantic World

Abstract This essay reconsiders the role of seventeenth-century psalmody in Puritans' religious lives, drawing on a rich yet little-discussed cache of writings about music from New and Old England to show that, contrary to popular belief, Puritans were deeply invested in the affective power of psalm singing as an expression of personal piety. Importantly, treatises about music circulated transatlantically, thus imbricating psalmody in a broader Atlantic-world discourse about the significance of sacred singing. The essay first examines the nature of Puritans' personal piety, an interior and individual experience of faith and communion with God. Then it delves into the theological justification for singing psalms and the method for selecting tunes. Attuning to the importance of individual affective experience brings about a reevaluation of the significance of early American psalmody's “decline” in the early eighteenth century. By tracing the contours of puritan musical thought on both sides of the Atlantic Ocean, this essay also puts forth “Atlantic musicology” as an illuminating approach to early modern music and ultimately challenges the historiographical tendency to view psalmody as the departure point for an exceptional American music history.

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