Description
Book SynopsisTrade Review“Varwig’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 *
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
Index
