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

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"

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.

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.

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.