LEADER 00000cam a2200589 i 4500 001 ocn952139239 003 OCoLC 005 20181016100232.0 008 160617s2017 nyua b 001 0 eng 010 2016028438 020 9780190658205|q(hardcover ;|qalkaline paper) 020 0190658207 020 |z9780190658229|q(epub) 020 |z0190658223 040 DLC|beng|erda|cDLC|dPUL|dOCLCF|dBDX|dYDX|dBTCTA|dOCLCO |dQCL|dRES|dCHVBK|dGUA|dOCLCO|dTFW|dOCLCQ|dOCLCA|dICW|dWCH 042 pcc 049 WCHA 050 00 ML172|b.H53 2017 090 ML172|b.H529 2017 100 1 Hicks, Andrew J.|q(Andrew James),|d1978-|0https:// id.loc.gov/authorities/names/no2009014201|eauthor. 245 10 Composing the world :|bharmony in the Medieval Platonic cosmos /|cAndrew Hicks. 264 1 New York, NY :|bOxford University Press,|c[2017] 264 4 |c©2017 300 xix, 321 pages :|billustrations ;|c24 cm. 336 text|btxt|2rdacontent 337 unmediated|bn|2rdamedia 338 volume|bnc|2rdacarrier 490 1 Critical conjunctures in music & sound 504 Includes bibliographical references (pages 291-308) and index. 505 0 Prelude : Listening to the universe -- Part I : The framework -- Harmonizing the world : natural philosophy and order -- Knowing the world : music, mathematics, and physics -- Part II : The particulars -- Composing the human : harmonies of the microcosm -- Hearing the world : sonic materialisms -- Composing the cosmic : harmonies of the macrocosm -- Postlude : The musical aesthetics of a world so composed. 520 "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 [Publisher description] 648 7 500-1400|2fast 650 0 Music|xPhilosophy and aesthetics|0https://id.loc.gov/ authorities/subjects/sh85088808|xHistory|0https:// id.loc.gov/authorities/subjects/sh99005024|y500-1400. |0https://id.loc.gov/authorities/subjects/sh2001008862 650 0 Harmony of the spheres.|0https://id.loc.gov/authorities/ subjects/sh85058969 650 7 Music|xPhilosophy and aesthetics.|2fast|0https:// id.worldcat.org/fast/1030408 650 7 History.|2fast|0https://id.worldcat.org/fast/958235 650 7 Harmony of the spheres.|2fast|0https://id.worldcat.org/ fast/951547 650 7 Harmonie.|2gnd|0(DE-588)4127802-1 650 7 Kosmologie.|2gnd|0(DE-588)4114294-9 650 7 Mittelalter.|2gnd|0(DE-588)4129108-6 650 7 Musik.|2gnd|0(DE-588)4040802-4 650 7 Naturphilosophie.|2gnd|0(DE-588)4041408-5 650 7 Platonismus.|2gnd|0(DE-588)4046303-5 650 7 Sphärenharmonie.|2gnd|0(DE-588)4182222-5 655 7 History.|2fast|0https://id.worldcat.org/fast/1411628 830 0 Critical conjunctures in music & sound.|0https:// id.loc.gov/authorities/names/no2017104540 901 MARCIVE 20231220 948 |d20180926|clti|tlti-aex 994 C0|bWCH
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