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Music and Historical Critique provides a definitive collection of
Gary Tomlinson's influential studies on critical musicology, with
the watchword throughout being history. This collection gathers his
most innovative essays and lectures, some of them published here
for the first time, along with an introduction outlining the
context of the contributions and commenting on their aims and
significance. Music and Historical Critique provides a
retrospective view of the author's achievements in bringing to the
heart of musicological discourse both deep-seated experiences of
the past and meditations on the historian's ways of understanding
them.
In The Singing of the New World Gary Tomlinson offers histories of
ancient music long since silent: the songs of the Indians that
Europeans met in the sixteenth century. Merging recent cultural
history, early European accounts, archaeological findings, and rare
indigenous documents for the Mexica (or Aztecs), the Incas, and the
Tupinamba of lowland Brazil, Tomlinson explores the place of
singing in these societies. He details the expressive and ritual
ends it was expected to fulfil before and after the coming of the
conquistadors. Musical practices and the cultural ends they served
come alive across a spectrum that reaches from the cosmogonic
geometry of Inca ritual song through the imminent sacred
materiality of Mexican cantares to the intricate interconnections
of singing, speaking and eating in Tupinamba cannibalism. A final
chapter considers the fears mutually and repeatedly inspired by the
expressive powers of American and European song.
In The Singing of the New World Gary Tomlinson offers histories of
ancient music long since silent: the songs of the Indians that
Europeans met in the sixteenth century. Merging recent cultural
history, early European accounts, archaeological findings, and rare
indigenous documents for the Mexica (or Aztecs), the Incas, and the
Tupinamba of lowland Brazil, Tomlinson explores the place of
singing in these societies. He details the expressive and ritual
ends it was expected to fulfil before and after the coming of the
conquistadors. Musical practices and the cultural ends they served
come alive across a spectrum that reaches from the cosmogonic
geometry of Inca ritual song through the imminent sacred
materiality of Mexican cantares to the intricate interconnections
of singing, speaking and eating in Tupinamba cannibalism. A final
chapter considers the fears mutually and repeatedly inspired by the
expressive powers of American and European song.
A new narrative for the emergence of human music, drawing from
archaeology, cognitive science, linguistics, and evolutionary
theory. What is the origin of music? In the last few decades this
centuries-old puzzle has been reinvigorated by new archaeological
evidence and developments in the fields of cognitive science,
linguistics, and evolutionary theory. In this path-breaking book,
renowned musicologist Gary Tomlinson draws from these areas to
construct a new narrative for the emergence of human music.
Starting at a period of human prehistory long before Homo sapiens
or music existed, Tomlinson describes the incremental attainments
that, by changing the communication and society of prehumen
species, laid the foundation for musical behaviors in more recent
times. He traces in Neandertals and early sapiens the accumulation
and development of these capacities, and he details their
coalescence into modern musical behavior across the last hundred
millennia. But A Million Years of Music is not about music alone.
Tomlinson builds a model of human evolution that revises our
understanding of the interaction of biology and culture across
evolutionary time-scales, challenging and enriching current models
of our deep history. As he tells his story, he draws in other
emerging human traits: language, symbolism, a metaphysical
imagination and the ritual it gives rise to, complex social
structure, and the use of advanced technologies. Tomlinson's model
of evolution allows him to account for much of what makes us a
unique species in the world today and provides a new way of
understanding the appearance of humanity in its modern form.
An authoritative survey of music and its context in the
Renaissance. The sixteenth and early seventeenth centuries - the
so-called Golden Age of Polyphony - represent a time of great
change and development in European music, with the flourishing of
Orlando di Lasso, Palestrina, Byrd, Victoria, Monteverdi and Schutz
among others. The chapters of this book, contributed by established
scholars on subjects within their fields of expertise, deal with
polyphonic music - sacred and secular, vocal and instrumental -
during this period. The volume offers chronological surveys of
national musical cultures (in Italy, France, the Netherlands,
Germany, England, and Spain); genre studies (Mass, motet, madrigal,
chanson, instrumental music, opera); and is completed with essays
on intellectual and cultural developments and concepts relevant to
music (music theory, printing, the Protestant Reformation and the
corresponding Catholic movement, humanism, concepts of
"Renaissance" and "Baroque"). It thus provides a complete overview
of the music and its context. Contributors: GARY TOMLINSON, JAMES
HAAR, TIM CARTER, GIULIO ONGARO, NOEL O'REGAN, ALLAN ATLAS, ANTHONY
CUMMINGS, RICHARD FREEDMAN, JEANICE BROOKS,DAVID TUNLEY, KATE VAN
ORDEN, KRISTINE FORNEY, IAIN FENLON, KAROL BERGER, PETER BERGQUIST,
DAVID CROOK, ROBIN LEAVER, CRAIG MONSON, TODD BORGERDING, LOUISE K.
STEIN, GIUSEPPE GERBINO, ROGER BRAY, JONATHAN WAINWRIGHT, VICTOR
COELHO, KEITH POLK
A new narrative for the emergence of human music, drawing from
archaeology, cognitive science, linguistics, and evolutionary
theory. What is the origin of music? In the last few decades this
centuries-old puzzle has been reinvigorated by new archaeological
evidence and developments in the fields of cognitive science,
linguistics, and evolutionary theory. In this path-breaking book,
renowned musicologist Gary Tomlinson draws from these areas to
construct a new narrative for the emergence of human music.
Starting at a period of human prehistory long before Homo sapiens
or music existed, Tomlinson describes the incremental attainments
that, by changing the communication and society of prehumen
species, laid the foundation for musical behaviors in more recent
times. He traces in Neandertals and early sapiens the accumulation
and development of these capacities, and he details their
coalescence into modern musical behavior across the last hundred
millennia. But A Million Years of Music is not about music alone.
Tomlinson builds a model of human evolution that revises our
understanding of the interaction of biology and culture across
evolutionary time-scales, challenging and enriching current models
of our deep history. As he tells his story, he draws in other
emerging human traits: language, symbolism, a metaphysical
imagination and the ritual it gives rise to, complex social
structure, and the use of advanced technologies. Tomlinson's model
of evolution allows him to account for much of what makes us a
unique species in the world today and provides a new way of
understanding the appearance of humanity in its modern form.
In this bold recasting of operatic history, Gary Tomlinson
connects opera to shifting visions of metaphysics and selfhood
across the last four hundred years. The operatic voice, he
maintains, has always acted to open invisible, supersensible realms
to the perceptions of its listeners. In doing so, it has
articulated changing relations between the self and metaphysics.
Tomlinson examines these relations as they have been described by
philosophers from Ficino through Descartes, Kant, and Nietzsche, to
Adorno, all of whom worked to define the subject's place in both
material and metaphysical realms. The author then shows how opera,
in its own cultural arena, distinct from philosophy, has repeatedly
brought to the stage these changing relations of the subject to the
particular metaphysics it presumes.
Covering composers from Jacopo Peri to Wagner, from Lully to
Verdi, and from Mozart to Britten, Metaphysical Song details
interactions of song, words, drama, and sounds used by creators of
opera to fill in the outlines of the subjectivities they
envisioned. The book offers deep-seated explanations for opera's
enduring fascination in European elite culture and suggests some of
the profound difficulties that have unsettled this fascination
since the time of Wagner.
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"
Writers of the time explored its links with grammar and rhetoric,
reported on the music of non-European peoples, and debated the role
of music in religious and other spheres. The forty-five readings
chosen for this volume by Gary Tomlinson cover a gamut that
includes composers, theorists, poets, philosophers, courtiers,
scholars, kings, and popes. Through the eyes of Bembo and Byrd, Du
fay and Erasmus, Peacham and Palestrina, Charles IX and Gregory
XIII, Calvin and Castiglione, Aaron, Tinctoris, Morley, and
Zarlino, we see the many worlds of music in the Renaissance.
Combining a close study of Monteverdi's secular works with recent
research on late Renaissance history, Gary Tomlinson places the
composer's creative career in its broad cultural context and
illuminates the state of Italian music, poetry, and ideology in the
sixteenth and seventeenth centuries.
The rapid evolutionary development of modern Homo sapiens over the
past 200,000 years is a topic of fevered interest in numerous
disciplines. How did humans, while undergoing few physical changes
from their first arrival, so quickly develop the capacities to
transform their world? Gary Tomlinson’s Culture and the Course of
Human Evolution is aimed at both scientists and humanists, and it
makes the case that neither side alone can answer the most
important questions about our origins. Tomlinson offers a new model
for understanding this period in our emergence, one based on
analysis of advancing human cultures in an evolution that was
simultaneously cultural and biological—a biocultural evolution.
He places front and center the emergence of culture and the human
capacities to create it, in a fashion that expands the conceptual
framework of recent evolutionary theory. His wide-ranging vision
encompasses arguments on the development of music, modern
technology, and metaphysics. At the heart of these developments, he
shows, are transformations in our species’ particular knack for
sign making. With its innovative synthesis of humanistic and
scientific ideas, this book will be an essential text.
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