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OverviewA corporeal history of music-making in early modern Europe. Music in the Flesh reimagines the lived experiences of music-making subjects—composers, performers, listeners—in the long seventeenth century. There are countless historical testimonies of the powerful effects of music upon the early modern body; it is described as moving, ravishing, painful, dangerous, curative, and miraculous while affecting “the circulation of the humors, purification of the blood, dilation of the vessels and pores.” How were these early modern European bodies constituted that music generated such potent bodily-spiritual effects? Bettina Varwig argues that early modern music-making practices challenge our modern understanding of human nature as a mind-body dichotomy. Instead, they persistently affirm a more integrated anthropology, in which body, soul, and spirit remain inextricably entangled. Moving with ease across repertories and regions, sacred and vernacular musics, and domestic and public settings, Varwig sketches a “musical physiology” that is as historically illuminating as it is relevant for present-day performance. This book makes a significant contribution not just to the history of music, but also to the history of the body, the senses, and the emotions, revealing music as a unique access point for reimagining early modern modes of being-in-the-world. Full Product DetailsAuthor: Bettina VarwigPublisher: The University of Chicago Press Imprint: University of Chicago Press Dimensions: Width: 15.20cm , Height: 3.30cm , Length: 22.90cm Weight: 0.739kg ISBN: 9780226826882ISBN 10: 0226826880 Pages: 360 Publication Date: 20 July 2023 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: Out of stock  The supplier is temporarily out of stock of this item. It will be ordered for you on backorder and shipped when it becomes available. Table of ContentsList of Figures List of Musical Examples A Note on Musical Examples and Translations Acknowledgments Preamble Part I: Embodiment 1. Words 2. Affektenlehre 3. Melisma 4. Quemadmodum desiderat cervus 5. Representation 6. Music 7. Bodies 8. Flow 9. Sound 10. Voices 11. Fili mi, Absalon Part II: Inspiration 12. Spirit 13. Aus Liebe will mein Heiland sterben 14. Hearing 15. Attention 16 Affections 17. Lament 18. Pulse 19. Contagion 20. Memory 21. Partien auf das Clavier Part III: Animation 22. Souls 23. Liquefaction 24. Softness 25. Liebe, sag, was fängst Du an? 26. Hearts 27. Chills 28. Pain 29. Beastliness 30. Mensa sonora Envoi Notes Primary Sources: Biographical Register and Works Cited Secondary Sources: Works Cited Recordings IndexReviewsVarwig's ambitious, highly original, beautifully crafted book dares to attempt a thorough and thoroughly believable phenomenological account of how humans in the long seventeenth century were likely to have experienced and understood music with their bodies as well as with their minds. Music in the Flesh is rich with implications for how we as a culture acquired and reified certain musical values. It is nothing less than a primer in a completely new way of thinking about scores, verbal descriptions of musical performances, and performances both live and recorded. * Suzanne Cusick, New York University * Varwig's brilliant book brings to life-almost literally-the wonderfully vivid writing of early modern theorists on the entanglement of music with the 'ensouled bodies' of its listeners and makers. The result is a gripping account of an astonishing body of historical writing that has prescient connections with twenty-first-century thinking about music and the embodied mind, and which urges its readers to experience the music of that period in richly transformed ways. This is a book that will have wide appeal from historical musicology to the psychology and neuroscience of music and will inform and influence those fields for many years to come. * Eric F. Clarke, University of Oxford * Music in the Flesh helps us understand how the music of the so-called Baroque is as much of the body as of the mind. With a detailed consideration of how contemporary performers and listeners might have felt during a performance, we gain insights that have totally eluded most commentators on the era. This study will become mandatory reading for any scholars interested in the different stages of the relationship between music and the emerging modern world. It will help us to sense new ways in which this music can resonate with our embodied disposition in live experience today. * John Butt, University of Glasgow * Author InformationBettina Varwig is professor of music history and fellow of Emmanuel College at the University of Cambridge. She is author of Histories of Heinrich Schütz and editor of Rethinking Bach. Tab Content 6Author Website:Countries AvailableAll regions |
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