Understandings of music, the mind, and the body have been closely allied since antiquity, their mutual influence inspiring idealized concepts of health as harmony, models of nervous transmission, theories of learning, and conceptions of sympathy and affect. The "Histories of Music, Mind, and Body" research group investigates the long history of using music to theorize the workings of the mind and body from antiquity to the present day, as well as the ways in which understandings of the mind and body have been historically applied to explain the effects of music. In parallel, it studies the pre-history of the modern field of music cognition, understood as the interdisciplinary intersection of psychoacoustics, psychology, and aesthetics, as they pertain to music. It thus seeks to historicize specific philosophical, embodied, and medical understandings of the experience of music (e.g., the deployment of Early Modern theories of the passions or Enlightenment-era vibrating nerve theories in music-theoretical texts), as well as diverse approaches to cognitive states (e.g., premodern notions of attention and distraction), mental categorizations of the sounding world (e.g., the experience of consonance and dissonance), and the emergence of basic musical concepts and assumptions (e.g., octave equivalence or the notion of the note as a discrete unit). The group will explore these areas of inquiry over a period of five years, working in conjunction with visiting researchers in the fields of music, the history of science, and philosophy, as well as with scientists specializing in music cognition and auditory neuroscience. In addition, the group will regularly convene working groups in order to undertake short-term research and publication projects with collaborators on various related subjects.
The group comprises four main areas of inquiry:
- Music, Emotions, and the Body: The goal of this branch of the project is to study the cultural conditions that structure our experience of certain sounds or repertoires as having particular effects upon the mind or body.
- Histories of Music and Cognition: This research area examines the role of sound, music, and musical performance in the emergence of key concepts in philosophy and modern psychology, ranging from theories of memory to habit, volition, and attention.
- Nature and Culture: This branch of the project will explore the extent to which our perceptions of various psychoacoustical phenomena (such as consonance and dissonance, or octave equivalence) have been influenced over time by cultural and historical factors. One goal of this area of inquiry is to generate historically grounded research questions that can eventually be explored empirically in collaboration with other researchers at the institute.
- Harmonia, Psychê, and Musica humana: This research area investigates what is perhaps the oldest site of discursive interaction between music and the human organism: the constellation of ideas and theories that, from antiquity through the eighteenth century, clustered around the concepts of harmony, the soul, and the harmonious temperament of the body (musica humana and the Galenic theory of the humors).
This book traces the role of music in theories of the mind and body, as well as the ways in which understandings of the mind and body have been historically applied to explain the effects of music during the period bookended by Descartes and Charcot.
Heraclitus, invoking the tensed string of a bow, conceived harmony as the stasis and equilibrium of conflicting forces held in continuing tension. Plato in the Symposium rejects this view in favor of a concept of harmony in which all conflict must already have been resolved.
This book project focuses on the emergence of a proto-cognitivist strain of music theory in late eighteenth-century Scotland. It examines theories of music (and approaches to musical cognition) advanced by John Holden (1729-1771) and Walter Young (1745-1814)...
The great composer of the French Baroque, Jean-Philippe Rameau, was also the most influential music theorist since the Middle Ages: the inaugurator, in his epochal Traité de l’harmonie (1722) and in many subsequent writings, of the modern theory of harmony. This monograph proposes a revision of the widely accepted view of Rameau’s harmonic theory as a product of Enlightenment thought.
August – October 2018:
Prof. Nathan Martin (University of Michigan)
October 2019 – July 2020:
Prof. Thomas Christensen (University of Chicago)
David E. Cohen, “From Ramos to Rameau: Toward the Origins of the Modern Concept of Harmony.” Forthcoming, Journal of Music Theory.
Carmel Raz, “‘To ‘Fill Up, Completely, the Whole Capacity of the Mind’: Listening with Attention in Late Eighteenth-Century Scotland.” Forthcoming, Music Theory Spectrum 44.1 (2022).
Carmel Raz, “Hector Berlioz’s Neurophysiological Imagination.” Forthcoming, Journal of the American Musicological Society 74.3 (2021).
Carmel Raz, “The Kinetic Universe of Philippe Leroux’s De La Texture (2007): Drum Rudiments, Waveform Profiles, and Process Polyphony.” Forthcoming, Music Theory and Analysis 8.2 (2021).
Carmel Raz, “Séances, “Sperrits,” and Self-Playing Accordions: Musical Instruments in Victorian Spiritualism.” In press, Journal of Musicology 38.2 (2021).
David E. Cohen, “‘A Body Composed of Many Parts’: The Concept of Harmony in Leonardo da Vinci’s Paragone.” Music and Visual Culture in Renaissance Italy, ed. Timothy Shepherd and Sanna Raninen. Routledge, forthcoming.
Carmel Raz, “How the Sheng became a Harp,” Journal of Sound Studies 6.2 (2020): 239–56. DOI: 10.1080/20551940.2020.1794648 Link.
David E. Cohen, “Before and After John of Garland: The Concept of Directed Dyadic Progression and Its Prehistory.” Music Theory and Analysis 7.1 (2020), 63-113. Link
Carmel Raz and Francesca Brittan, “Attention, Anxiety, and Audition’s Histories,” introduction to colloquy on “Music and Forms of Attention in the Long Nineteenth Century.” Journal of the American Musicological Society 72.2 (2019), 541–546. Link.
Carmel Raz, “Talking to the Hand: The “Hysterical Epistemology” of the Migrating Sensorium.” Colloquy on “Music and Forms of Attention in the Long Nineteenth Century.” Journal of the American Musicological Society 72.2 (2019), 552–557. Link.
Carmel Raz, “Operatic Fantasies in Early Nineteenth-Century Psychiatry.” In Nineteenth-Century Opera and the Scientific Imagination, ed. David Trippett and Benjamin Walton. Cambridge University Press, 2019, 63–83. Link.
Carmel Raz, “Music of the Squares: David Ramsay Hay and the Reinvention of Pythagorean Aesthetics,” Public Domain Review, May 16, 2019. Link.
Carmel Raz, David E. Cohen, Roger M. Grant, Andrew Hicks, Nathan J. Martin, Caleb Mutch, Melanie Wald-Fuhrmann, Felix Wörner, and Anna Zayaruznaya, “Going Global, in Theory,” Musicological Brainfood 3.1 (2019). Link.
Carmel Raz and Stanley Finger, “Musical Glasses, Metal Reeds, and Broken Hearts: Two Cases of Melancholia Treated by New Musical Instruments.” In The Routledge Companion to Music, Mind and Wellbeing: Historical and Scientific Perspectives, ed. Penelope Gouk, Jacomien Prins, Wiebke Thormaehlen, and James Kennaway. Routledge, 2018, 77–92. Link
Carmel Raz, “An Eighteenth-Century Theory of Musical Cognition? John Holden’s Essay Toward a Rational System of Music (1770),” Journal of Music Theory 62.2 (October, 2018): 205–248. Link
Carmel Raz, “Anne Young’s Introduction to Music (1803): Pedagogical, Speculative, and Ludic Music Theory,” SMT-V: Videocast Journal of the Society for Music Theory 4.3 (October, 2018). Link
Carmel Raz, “Anne Young’s Musical Games (1801): Music Theory, Gender, and Game Design,” SMT-V: Videocast Journal of the Society for Music Theory 4.2 (September, 2018). Link
David E. Cohen, “Rhythm, Number, and Heraclitus' River,” AMS / SMT History of Music Theory Blog, August 2018. Link