Marsilio Ficino In Germany From Renaissance To Enlightenment

The philosopher and humanist Marsilio Ficino (1433–1499) has attracted scholarly attention as translator of Plato, the Corpus Hermeticum, Plotinus and other Neoplatonists, and for his complex synthesis of Platonism and Christianity. While most previous studies of Ficino’s reception have concentrated on Italy, France, England and Spain, this book presents a comprehensive study of his reception in Germany and neighbouring areas, examining how Northern writers between the fifteenth and eighteenth centuries remembered and reinvented Ficino’s person and work. Focussed chapters examine the ways German authors adapted his theories of the Ancient Theology, melancholia, celestial influence and poetic inspiration, and used his writings in related fields such as alchemy and witchcraft. This book also examines the critiques of those who rejected Ficino’s work, providing context for those who embraced his ideas. The most comprehensive bibliography of printed editions of Ficino’s work since Kristeller forms the basis for a bibliometric analysis.

In early modern Europe, music – particularly singing – was the arena where body and soul came together, embodied in the notion of musica humana. Kim uses this concept to examine the framework within which music and song were used to promote moral education and addresses Renaissance ideas of religion, education and music.

This is the first volume to explore the reception of the Pythagorean doctrine of cosmic harmony within a variety of contexts, ranging chronologically from Plato to 18th-century England. This original collection of essays engages with contemporary debates concerning the relationship between music, philosophy, and science, and challenges the view that Renaissance discussions on cosmic harmony are either mere repetitions of ancient music theory or pre-figurations of the ‘Scientific Revolution’. Utilizing this interdisciplinary approach, Renaissance Conceptions of Cosmic Harmony offers a new perspective on the reception of an important classical theme in various cultural, sequential and geographical contexts, underlying the continuities and changes between Antiquity, the Middle Ages and the Renaissance. This project will be of particular interest within these emerging disciplines as they continue to explore the ideological significance of the various ways in which we appropriate the past.

This volume explores various perceptions, adaptations, and appropriations of Horace in the Early Modern age across textual, visual and musical media. It thus intends to advocate an interdisciplinary and multi-medial approach to the exceptionally rich and variegated afterlife of Horace.

Exploring the nexus of music and religious education involves fundamental questions regarding music itself, its nature, its interpretation, and its importance in relation to both education and the religious practices into which it is integrated. This cross-disciplinary volume of essays offers the first comprehensive set of studies to examine the role of music in educational and religious reform and the underlying notions of music in early modern Europe. It elucidates the context and manner in which music served as a means of religious teaching and learning during that time, thereby identifying the religio-cultural and intellectual foundations of early modern European musical phenomena and their significance for exploring the interplay of music and religious education today.

The book draws upon the rich information gathered for the online database Catalogue of early German printed music / Verzeichnis deutscher Musikfrühdrucke (vdm), the first systematic descriptive catalogue of music printed in the German-speaking lands between c. 1470 and 1540, allowing precise conclusions about the material production of these printed musical sources. Chapters 8 and 9 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book presents a varied and nuanced analysis of the dynamics of the printing, publication, and trade of music in the sixteenth and early seventeenth centuries across Western and Northern Europe. Chapters consider dimensions of music printing in Britain, the Holy Roman Empire, the Netherlands, France, Spain and Italy, showing how this area of inquiry can engage a wide range of cultural, historical and theoretical issues. From the economic consequences of the international book trade to the history of women music printers, the contributors explore the nuances of the interrelation between the materiality of print music and cultural, aesthetic, religious, legal, gender and economic history. Engaging with the theoretical turns in the humanities towards material culture, mobility studies and digital research, this book offers a wealth of new insights that will be relevant to researchers of early modern music and early print culture alike.