The Inaudible Music of the Renaissance: From Marsilio Ficino to Robert Fludd
This article revaluates the significance of musical treatises written by the Ficinian physician Robert Fludd (1574-1637). By reconsidering the implications of Fludd's interpretation of Marsilio Ficino's musical philosophy, I propose that his reconstruction of the Renaissance outlook in t...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Iter Press
[2016]
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| In: |
Renaissance and reformation
Year: 2016, Volume: 39, Issue: 2, Pages: 129-166 |
| RelBib Classification: | NBD Doctrine of Creation TJ Modern history VA Philosophy |
| Online Access: |
Volltext (Verlag) |
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| 520 | |a This article revaluates the significance of musical treatises written by the Ficinian physician Robert Fludd (1574-1637). By reconsidering the implications of Fludd's interpretation of Marsilio Ficino's musical philosophy, I propose that his reconstruction of the Renaissance outlook in the seventeenth century is not merely a backward-looking oddity, but is rather indicative of a long-standing and pervasive history of inaudible music (i.e., the silent harmony of the universe and of the human body). Music played a central role in Fludd's polemics with the scientists Johannes Kepler (1571-1630) and Marin Mersenne (1588-1648), regarding not the composition of art music but rather the understanding of the composition of the universe itself. The societal tensions evident in Fludd's musical books reveal that it is not only musical practice but also broad scientific, medical, and philosophical conceptions of sound that comprise musical understanding in the early seventeenth century. | ||
| 520 | |a Cet article propose de réévaluer la signification des traités de musique du médecin ficinien Robert Fludd (1574-1637). En reconsidérant ce qu'implique l'interprétation par Fludd de la philosophie musicale de Marsile Ficin, il avance que cette « reconstruction » d'une perspective issue de la Renaissance au XVIIe siècle ne correspond pas seulement à un excentrique retour en arrière; elle réfère plutôt à la longue et omniprésente histoire de cette musique inaudible qu'est l'harmonie des sphères (comprise comme harmonie silencieuse de l'univers et du corps humain). La musique a en effet joué un rôle important dans les échanges polémiques entre Fludd, Johannes Kepler (1571-1630) et Marin Mersenne (1588-1648), qui ne portent pas tant sur la composition musicale que sur la compréhension de la composition de l'univers lui-même. Les tensions sociétales, bien perceptibles dans les traités de musique de Fludd, montrent qu'au delà de la pratique musicale, c'est une conception scientifique générale, médicale et philosophique qu'engage la pensée musicale du début du XVIIe siècle. | ||
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