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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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