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Composing the World: Harmony in the Medieval Platonic Cosmos de Andrew Hicks

Composing the World: Harmony in the Medieval Platonic Cosmos: Critical Conjunctures in Music and Sound

Autor Andrew Hicks
en Limba Engleză Hardback – 9 feb 2017

Curatorul acestui volum ne propune o călătorie intelectuală fascinantă, pornind de la o premisă contemporană uluitoare — detectarea undelor gravitaționale de către LIGO — pentru a ne recalibra auzul către trecutul medieval. Apreciem modul în care Andrew Hicks reușește să demonstreze că intuiția modernă a unui univers care „vibrează” nu este o noutate tehnologică, ci o redescoperire a unei cosmologii animate și coregrafiate conform unei estetici muzicale riguroase. Suntem de părere că volumul Composing the World depășește granițele unui simplu studiu istoric, devenind o analiză a modului în care armonia a guvernat echilibrul psihic și fizic al omului medieval.

Ne-a atras atenția rigoarea cu care autorul explorează terenul filozofic al secolului al XII-lea, transformând platonismul într-o experiență senzorială. Textul este dens, dar ritmat de conexiuni surprinzătoare între dualismul cartezian și limbajul filosofic al lui Deleuze sau Guattari. Colecționarii care au apreciat The Harmony of the Spheres de Joscelyn Godwin vor găsi aici aceeași calitate de reproducere a ideilor complexe, însă cu o ancorare mai profundă în filologia și tratatele tehnice ale epocii. Spre deosebire de alte lucrări care tratează muzica sferelor ca pe o simplă curiozitate mistică, Hicks o tratează ca pe o disciplină fundamentală a cunoașterii.

Deși autorul s-a aplecat anterior asupra unor teme aparent disparate, precum în Posthumanism in the Novels of Kurt Vonnegut, unde analiza relația dintre materie și umanism, în această lucrare din seria Critical Conjunctures in Music and Sound el rafinează acea curiozitate despre locul omului în sistemul cosmic. Este o lucrare de o eleganță academică rară, publicată sub egida Oxford University Press, care transformă lectura într-un act de ascultare atentă a structurii universului.

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Specificații

ISBN-13: 9780190658205
ISBN-10: 0190658207
Pagini: 344
Dimensiuni: 155 x 239 x 33 mm
Greutate: 0.59 kg
Editura: Oxford University Press
Colecția OUP USA
Seria Critical Conjunctures in Music and Sound

Locul publicării:New York, United States

De ce să citești această carte

Recomandăm această carte cititorilor care doresc să înțeleagă rădăcinile filosofice ale percepției noastre despre univers. Veți câștiga o perspectivă nouă asupra modului în care muzica, matematica și astronomia au format un tot unitar în gândirea medievală. Este o lectură esențială pentru cei care caută rigoare academică împletită cu o viziune poetică asupra ordinii cosmice, oferind instrumente intelectuale pentru a „auzi” armonia din spatele legilor fizicii.

Despre autor

Andrew Hicks este un cercetător recunoscut pentru abordările sale interdisciplinare, activând la intersecția dintre muzicologie, studii clasice și filozofie medievală. Expertiza sa vastă îi permite să navigheze cu ușurință între texte latine complexe și teorii critice contemporane. În lucrările sale, cum ar fi studiul despre postumanism în proza lui Kurt Vonnegut, Hicks explorează modul în care structurile materiale și estetice definesc experiența umană. Prin volumul de față, el își consolidează reputația de istoric al ideilor capabil să aducă în actualitate concepte străvechi prin prisma descoperirilor științifice moderne.

Descriere

We can hear the universe! This was the triumphant proclamation at a February 2016 press conference announcing that the Laser Interferometer Gravity Observatory (LIGO) had detected a "transient gravitational-wave signal." What LIGO heard in the morning hours of September 14, 2015 was the vibration of cosmic forces unleashed with mind-boggling power across a cosmic medium of equally mind-boggling expansiveness: the transient ripple of two black holes colliding more than a billion years ago. The confirmation of gravitational waves sent tremors through the scientific community, but the public imagination was more captivated by the sonic translation of the cosmic signal, a sound detectable only through an act of carefully attuned listening. As astrophysicist Szabolcs Marka remarked, "Until this moment, we had our eyes on the sky and we couldn't hear the music. The skies will never be the same."Taking in hand this current "discovery" that we can listen to the cosmos, Andrew Hicks argues that sound--and the harmonious coordination of sounds, sources, and listeners--has always been an integral part of the history of studying the cosmos. Composing the World charts one constellation of musical metaphors, analogies, and expressive modalities embedded within a late-ancient and medieval cosmological discourse: that of a cosmos animated and choreographed according to a specifically musical aesthetic. The specific historical terrain of Hicks' discussion centers upon the world of twelfth-century philosophy, and from there he offers a new intellectual history of the role of harmony in medieval cosmological discourse, a discourse which itself focused on the reception and development of Platonism. Hicks illuminates how a cosmological aesthetics based on the "music of the spheres" both governed the moral, physical, and psychic equilibrium of the human, and assured the coherence of the universe as a whole. With a rare convergence of musicological, philosophical, and philological rigor, Hicks presents a narrative tour through medieval cosmology with reflections on important philosophical movements along the way, raising connections to Cartesian dualism, Uexküll's theoretical biology, and Deleuze and Guattari's musically inspired language of milieus and (de)territorialization. Hicks ultimately suggests that the models of musical cosmology popular in late antiquity and the twelfth century are relevant to our modern philosophical and scientific undertakings. Impeccably researched and beautifully written, Composing the World will resonate with a variety of readers, and it encourages us to rethink the role of music and sound within our greater understanding of the universe.

Recenzii

The main objective of this volume is highly innovative and stimulating... Hicks' essay is a very accurate study of Harmony in the Medieval Platonic Cosmos, and is going to become a must for future researchers in a field that includes a number of disciplines with different epistemological statutes.
written from a multidisciplinary perspective that includes musicology, philosophy, and history of science ... the inspiration Hicks's book provides to reflect on the place of music in historical and contemporary ways of world-making.
Composing the World is itself well-composed -- its chapters flow, despite their many long citations from the works under discussion. As the book is very much about these texts, most readers will be glad of this florilegium ... Hicks has done a wonderful job of making a complex subject and its somewhat forbidding texts accessible and of drawing out their importance and relevance to manifold wider concerns.
Andrew Hicks has been so bold as to add a new book about world harmony, the music of the spheres, and the medieval reception of the Pythagorean concept of a creation organised according to musical principles to the already existing wealth of scholarship ... Hicks has chosen an approach which is new and refreshing, and which goes far beyond the boundaries of what already exists on the subject.
Andrew H's Composing the World is a well-written and informative work. It was undoubtedly a courageous and imaginative decision to embark on a study of the notion of cosmic harmony in twelfth-century Latin sources, since a successful outcome could only be achieved by someone who combines many skills including not only musicology but medieval Latin philology and paleography, not without some acquaintance with the histories of philosophy and science ... Andrew H. is obviously a person of great intelligence and already of considerable learning. It seems to me that with his range of expertise he is adding greatly, and could presumably so add in the future, to medieval musicology and medieval studies more generally.
This ambitious book opens a new window onto twelfth-century philosophical thought, and successfully shows how deeply Platonic conceptions of harmony were embedded within it. As well as becoming essential reading for medievalists who want to develop their knowledge of speculative music theory, it is also worth the attention of early modernists and scholars who focus on present-day philosophical and scientific thought.
Hicks writes towards the beginning of his book that, if we neglect the natural philosophers of the twelfth century, 'we have done ourselves and the discipline of musicology a grand disservice' (p. 8). By bringing a musicological perspective to his engagement with these natural philosophers, he enriches our understanding of the twelfth century's musical speculation and raises new questions that broaden musicology itself.
There is no other work on this topic that can compare in terms of depth, scope, and complexity. This book is likely to become an indispensable point of reference for the study of both medieval musical theory and the school of Chartres.
fascinating insights into the way the medieval mind worked as it tried to develop the notion of "a cosmos animated and choreographed according to a specifically musical aesthetic".

Notă biografică

Andrew Hicks is an Assistant Professor of Music and Medieval Studies at Cornell University, a member of the graduate fields of Classics and Near Eastern Studies, and a faculty affiliate in Religious Studies. His scholarship clusters around the intellectual history of musical thought from a cross-disciplinary perspective that embraces philosophical, cosmological, scientific, and grammatical discourse in Late Antiquity and the Middle Ages, and spans the linguistic and cultural spheres of Latin, Greek, Persian, and Arabic.