A fascinating aspect of the study of music in medieval Islamic and Judaic writings is the broad and interdisciplinary nature of the works and treatises in which it is covered. In addition, such works verbalize an art that was transmitted orally and took shape spontaneously, typically with improvisation during performance. As a result of this outlook the musical concept (or science) is often intertwined with practice (or history). This second collection by Amnon Shiloah brings together twenty-two studies exemplifying such multi-faceted viewpoints on the world of sounds and its virtue. The first studies concern the origin and originators of music and to how its essential constituents came into being; included here is the art of dance along with the controversial attitudes towards it. Next comes the symbolic, philosophical and metaphorical interpretation of music; one of the major ideas epitomizing this approach claimed that the pursuit of knowledge is the path to human perfection and happiness. There follow studies on the transmission of knowledge, along with some annotated key works dealing with therapeutic effects. The last articles focus on cultural traditions elaborated on European soil developing a particular style and musical practice, centred on the Iberian Peninsula, which was the scene of one of the most fascinating examples of cultural interchange.

Henry George Farmer (1882-1965) was a pioneering musicologist who specialized in Arab music. In 1932, he participated in the First International Congress of Arab Music in Cairo, during which he maintained a journal recording his daily activities, interactions with fellow delegates and dignitaries, and varied perambulations throughout the city. This journal, and the detailed minutes he kept for his chaired Commission on History and Manuscripts, were never published. They reveal aspects and inner-workings of the Congress that have hitherto remained unknown. The illustrations and photos contained therein, as well as additional photos that were never seen, provide visual documentation of the Congress’s participants and musical ensembles.

This volume offers 37 original essays from leading scholars on the crucial topics, issues, methods, and resources for studying and teaching religion and the arts.

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.

Die International Bibliographiy of Historical Sciences verzeichnet jährlich die bedeutendsten Neuerscheinungen geschichtswissenschaftlicher Monographien und Zeitschriftenartikel weltweit, die inhaltlich von der Vor- und Frühgeschichte bis zur jüngsten Vergangenheit reichen. Sie ist damit die derzeit einzige laufende Bibliographie dieser Art, die thematisch, zeitlich und geographisch ein derart breites Spektrum abdeckt. Innerhalb der systematischen Gliederung nach Zeitalter, Region oder historischer Disziplin sind die Werke nach Autorennamen oder charakteristischem Titelhauptwort aufgelistet.

As a work of musical theory, or meta-theory, Music's Making draws extensively on work done in philosophy and literary criticism in addition to the scholarship of musicologists and music theorists. Music's Making is divided into two large parts. The first half develops global attitudes toward music: emergence out of self and hearing through (drawing on Kabbalah and other sources), middle-voice (as discussed in philosophical phenomenology), liminal space (as discussed in literary theory), an ethics of intersubjectivity (drawing on Levinas), and character, canon, and metaleptic transformations (drawing chiefly on Harold Bloom). The second half embodies a search for metaphors, figurative language toward understanding music's endlessly variegated shaping of time-space. The musicians and scholars who inform this part of the book include Pierre Boulez, Gilles Deleuze, Anton Webern, Morton Feldman, and James Dillon. The book closes with an extended inquiry into the metaphors of horizontal and vertical experience and the spiritual qualities of musical experience expressed through those metaphors.

Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.