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Divided into three sections, Linda Phyllis Austern collects
eighteen, cross-disciplinary essays written by some of the most
important names in the field to look at this stimulating topic. The
first section focuses on the cultural and scientific ways in which
music and the sense of hearing work directly on the mind and body.
Part Two investigates how music works on the socially constructed,
representational or sexualized body as a means of healing,
beautifying and maintaining a balance between the mental and
physical. Finally, the book explores the action of music as it is
heard and sensed by wider social units, such as the body politic,
mass communication, from print to sound recording, and broadcast
technologies.
Psalms in the Early Modern World is the first book to explore the
use, interpretation, development, translation, and influence of the
Psalms in the Atlantic world, 1400-1800. In the age of Reformation,
when religious concerns drove political, social, cultural,
economic, and scientific discourse, the Bible was the supreme
document, and the Psalms were arguably its most important book.The
Psalms played a central role in arbitrating the salient debates of
the day, including but scarcely limited to the nature of power and
the legitimacy of rule; the proper role and purpose of nations; the
justification for holy war and the godliness of peace; and the
relationship of individual and community to God. Contributors to
the collection follow these debates around the Atlantic world, to
pre- and post-Hispanic translators in Latin America, colonists in
New England, mystics in Spain, the French court during the
religious wars, and both Protestants and Catholics in England.
Psalms in the Early Modern World showcases essays by scholars from
literature, history, music, and religious studies, all of whom have
expertise in the use and influence of Psalms in the early modern
world. The collection reaches beyond national and confessional
boundaries and to look at the ways in which Psalms touched nearly
every person living in early modern Europe and any place in the
world that Europeans took their cultural practices.
In this book, divided into three sections, Linda Phyllis Austern collects eighteen, cross-disciplinary essays written by some of the most important names in the field to look at this stimulating topic. Part One focuses on the cultural and scientific ways in which music and the sense of hearing work directly on the mind and body. Part Two investigates how music works on the socially constructed, representational or sexualized body as a means of healing, beautifying and maintaining a balance between the mental and physical. Finally, the book explores the action of music as it is heard and sensed by wider social units, such as the body politic, mass communication, from print to sound recording, and broadcast technologies.
Both from the Ears and Mind offers a bold new understanding of the
intellectual and cultural position of music in Tudor and Stuart
England. Linda Phyllis Austern brings to life the kinds of educated
writings and debates that surrounded musical performance, and the
remarkable ways in which English people understood music to inform
other endeavors, from astrology and self-care to divinity and
poetics. Music was considered both art and science, and discussions
of music and musical terminology provided points of contact between
otherwise discrete fields of human learning. This book demonstrates
how knowledge of music permitted individuals to both reveal and
conceal membership in specific social, intellectual, and
ideological communities. Attending to materials that go beyond
music's conventional limits, these chapters probe the role of music
in commonplace books, health-maintenance and marriage manuals,
rhetorical and theological treatises, and mathematical
dictionaries. Ultimately, Austern illustrates how music was an
indispensable frame of reference that became central to the fabric
of life during a time of tremendous intellectual, social, and
technological change.
English music studies often apply rigid classifications to musical
materials, their uses, their consumers, and performers. The
contributors to this volume argue that some performers and
manuscripts from the early modern era defy conventional
categorization as "amateur" or "professional," "native" or
"foreign." These leading scholars explore the circulation of music
and performers in early modern England, reconsidering previously
held ideas about the boundaries between locations of musical
performance and practice.
English music studies often apply rigid classifications to musical
materials, their uses, their consumers, and performers. The
contributors to this volume argue that some performers and
manuscripts from the early modern era defy conventional
categorization as "amateur" or "professional," "native" or
"foreign." These leading scholars explore the circulation of music
and performers in early modern England, reconsidering previously
held ideas about the boundaries between locations of musical
performance and practice.
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