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Vol. 1: The musician an d his art ; vol. 2: Harmonic and acoustic theory.
Contributors to this volume are Philip Alperson, Francis Sparshott, Nicholas Wolterstorff, Edward T. Cone, Peter Kivy, Jenefer Robinson, Joseph Margolis, Arnold Berleant, Morris Grossman, Jerrold Levinson, Stephen Davies, Martin Donougho, Roger Scruton, and Rose Rosengard Subotnik.
The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Naomi Weiss demonstrates that Euripides’ allusions to music-making are not just metatheatrical flourishes or gestures towards musical and religious practices external to the drama but closely interwoven with the dramatic plot. Situating Euripides’ experimentation with the dramaturgical effects of mousike within a broader cultural context, she shows how much of his novelty lies in his reinvention of traditional lyric styles and motifs for the tragic stage. If we wish to understand better the trajectories of this most important ancient art form, The Music of Tragedy argues, we must pay closer attention to the role played by both music and text.
Music in Ancient Greece and Rome provides a comprehensive introduction to the history of music from Homeric times to the Roman emperor Hadrian, presented in a concise and user-friendly way. Chapters include: * contexts in which music played a role * a detailed discussion of instruments * an analysis of scales, intervals and tuning * the principal types of rhythm used * and an exploration of Greek theories of harmony and acoustics. Music in Ancient Greece and Rome also contains numerous musical examples, with illustrations of ancient instruments and the methods of playing them.
The Oxford Handbook of Hellenic Studies is a unique collection of some seventy articles which together explore the ways in which ancient Greece has been, is, and might be studied. It is intended to inform its readers, but also, importantly, to inspire them, and to enable them to pursue their own research by introducing the primary resources and exploring the latest agenda for their study. The emphasis is on the breadth and potential of Hellenic Studies as a flourishing and exciting intellectual arena, and also upon its relevance to the way we think about ourselves today.
How do people respond to and evaluate their sensory experiences of the natural and man-made world? What does it mean to speak of the ‘value’ of aesthetic phenomena? And in evaluating human arts and artifacts, what are the criteria for success or failure? The sixth in a series exploring ‘ancient values’, this book investigates from a variety of perspectives aesthetic value in classical antiquity. The essays explore not only the evaluative concepts and terms applied to the arts, but also the social and cultural ideologies of aesthetic value itself. Seventeen chapters range from the ‘life without the Muses’ to ‘the Sublime’, and from philosophical views to middle-brow and popular aesthetics. Aesthetic value in classical antiquity should be of interest to classicists, cultural and art historians, and philosophers.
The chapters in this volume explore the relationship between music and art in Italy across the long sixteenth century, considering an era when music-making was both a subject of Italian painting and a central metaphor in treatises on the arts. Beginning in the fifteenth century, transformations emerge in the depiction of music within visual arts, the conceptualization of music in ethics and poetics, and in the practice of musical harmony. This book brings together contributors from across musicology and art history to consider the trajectories of these changes and the connections between them, both in theory and in the practices of everyday life. In sixteen chapters, the contributors blend iconographic analysis with a wider range of approaches, investigate the discourse surrounding the arts, and draw on both social art history and the material turn in Renaissance studies. They address not only paintings and sculpture, but also a wide range of visual media and domestic objects, from instruments to tableware, to reveal a rich, varied, and sometimes tumultuous exchange among musical and visual arts and ideas. Enriching our understanding of the subtle intersections between visual, material, and musical arts across the long Renaissance, this book offers new insights for scholars of music, art, and cultural history. Chapter 15 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
In recent decades, the relationship between music, emotions, health and well-being has become a hot topic. Scientific research and new neuro-imaging technologies have provided extraordinary new insights into how music affects our brains and bodies, and researchers in fields ranging from psychology and music therapy to history and sociology have turned their attention to the question of how music relates to mind, body, feelings and health, generating a wealth of insights as well as new challenges. Yet this work is often divided by discipline and methodology, resulting in parallel, yet separate discourses. In this context, The Routledge Companion to Music, Mind and Well-being seeks to foster truly interdisciplinary approaches to key questions about the nature of musical experience and to demonstrate the importance of the conceptual and ideological frameworks underlying research in this field. Incorporating perspectives from musicology, history, psychology, neuroscience, music education, philosophy, sociology, linguistics and music therapy, this volume opens the way for a generative dialogue across both scientific and humanistic scholarship. The Companion is divided into two sections. The chapters in the first, historical section consider the varied ways in which music, the emotions, well-being and their interactions have been understood in the past, from Antiquity to the twentieth century, shedding light on the intellectual origins of debates that continue today. The chapters in the second, contemporary section offer a variety of current scientific perspectives on these topics and engage wider philosophical problems. The Companion ends with chapters that explore the practical application of music in healthcare, education and welfare, drawing on work on music as a social and ecological phenomenon. Contextualising contemporary scientific research on music within the history of ideas, this volume provides a unique overview of what it means to study music in relation to the mind and well-being.