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001 ocm58455686;

003 OCoLC;

005 20141211183626.0;

008 050126s2005 enkafg f b 001 0 eng ;

020 a| 0714843512 (hbk.);

035 a| (Sirsi) o58455686;

035 a| (OCoLC)58455686;

049 a| EREM;

050 4 a| ML3849b| .V47 2005;

082 04 a| 780.072| 22;

100 1 a| Vergo, Peter.=| ^A77109;

245 10 a| That divine order :b| music and the visual arts from antiquity to the eighteenth century /c| Peter Vergo.;

260 a| London ;a| New York :b| Phaidon Press,c| 2005.;

300 a| 288 pages, 14 pages of plates :b| illustrations (some color), music ;c| 25 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 277-283) and index.;

505 0 a| Introduction. Scope of this enquiry ; Music as an order or emotion ; Music and the visual arts ; Advantages and disadvantages of music ; Aims and methods of the present study -- The cry of the phoenix. Origins of music and art ; Music and mathematics ; Music and society in ancient China ; The legacy of China ; Ancient Chinese theories of painting ; Theories of music and art compared ; Art, music and ritual -- Spherical music. Art and music in ancient Greece ; The doctrine of the modes ; Moral effects of music ; Harmonic theory and practice ; Raphael and Pythagoras ; The Pythagorean consonances ; Pythagoras and Plato ; Music in Plato's Timaeus ; The myth of Er ; Celestial harmonies from Cicero to Mozart ; The power of music: Giovanni de' Bardi and the Florentine Intermedi of 1589 ; Monteverdi and the beginnings of opera -- Gothic architecture and polyphony. Medieval learning and the theory of music ; Builders and scholars ; Simson's theory of musical ratios criticized ; Villard de Honnecourt ; Development of polyphony ; Guide of Arezzo ; Musical space ; The rise of the motet ; Space in Gothic architecture ; Affinities between architecture and music ; The role of architecture in medieval musical theory ; Music and architecture in paradise -- Divine harmonies. The liberal and the mechanical arts ; The worth of painting ; Music as a model worthy of emulation ; Leonardo and music ; Proportion in Renaissance music and architecture ; Vitruvius, Alberti and the principle of 'harmonic' ratios ; Zorzi and Palladio ; Palladio's musical villas ; Brunelleschi, Dufay and S. Maria del Fiore ; Music and architecture at St Mark's Venice -- Mode and mood. Myth, legend and modern science ; Music ancient and modern ; Words and music: Monteverdi's 'second practice' ; Theories of music applied to painting ; Descartes on music ; Lomazzo's Treatise on Painting ; Theories of the modes revisited ; Poussin and Zarlino ; 'Mode' and 'mood' in Poussin's paintings ; The modes in seventeenth-century musical practice ; Painting and poetry ; Poussin's influence ; The Rhetoric of the Gods -- Melodies for the eye. Music and colour ; The harmony of colours ; Scale and spectrum in Newton's optical theory ; Arcimboldo ; Father Castel and his 'ocular harpsichord' ; Early performances ; Success and failure of Castel's experiments ; The symphony in the sky -- Epilogue: colour-music: the art of light. Castel's legacy ; Colour-music ; Nineteenth-century pioneers ; The advent of electricity ; A. W. Rimington's colour organ ; The 'art of mobile colour' ; 'Prometheus: the Poem of Fire' and Skryabin's 'light keyboard' ; Reactions to Skryabin's experiment.;

520 a| Ever since antiquity, philosophers have pointed to the supposed 'divine' character of music, and following Pythagoras's discovery of the mathematical basis of the musical scale, have posited a link between the mathematical order of music, the physical order of the universe and the moral order of human society. Both practicing artists and moralists came to believe that, by demonstrating an analogy with music, they could claim a dignity and value for their art--whether painting, architecture or sculpture--that it might otherwise lack. Why was this so? What was the point of such analogies? What advantages was music believed to enjoy, by comparison with the visual arts? Artists and critics frequently cited music as a manifestation of God-given order to which visual arts should aspire. But on what evidence was this belief in the inherently systematic character of music based; and in practical terms, how might visual art seek to emulate any such divine order or system? In what way might Gothic cathedrals have been based on systems of harmonic proportion? How did Poussin's search for a compositional principle derived from antique 'modes' in music resemble, or differ from, Palladio's attempts to embody musical 'harmonies' in architecture? And how did each artist conceive of the sense and value of such analogies? Systematic answers to such questions have hitherto been lacking, and, for the first time, the author makes direct and detailed comparisons between musical and pictorial practices in the long period covered by the book. He also provides a broad analysis of changes in the character of the analogies drawn at different times, using in his analyses critical and philosophical sources as well as evidence about artistic and musical practice. "That divine order" will be of interest to art historians and musicologists, to practicing artists and musicians and to students of cultural history.;

650 0 a| Music, Influence ofx| History.=| ^A36260;

650 0 a| Art and musicx| History.=| ^A17736;

650 0 a| Music and architecturex| History.=| ^A180358;

994 a| C0b| ERE;

596 a| 3;

998 a| 1014016;

999 a| ML3849 .V47 2005w| LCc| 1i| 30372013464851d| 3/17/2025e| 3/7/2025f| 4/25/2024g| 4l| MSTm| JMUSICn| 3p| $58.76r| Ys| Yt| MGESBKu| 10/19/2005x| BOOKz| MCIRCo| .STAFF. enhanced 1/30/24 -jjab;

That divine order : music and the visual arts from antiquity to the eighteenth century / Peter Vergo.

Author/creator	Vergo, Peter
Format	Book
Publication Info	London ; New York : Phaidon Press, 2005.
Description	288 pages, 14 pages of plates : illustrations (some color), music ; 25 cm
Subjects	Music, Influence of--History. Art and music--History. Music and architecture--History.

Contents	Introduction. Scope of this enquiry ; Music as an order or emotion ; Music and the visual arts ; Advantages and disadvantages of music ; Aims and methods of the present study -- The cry of the phoenix. Origins of music and art ; Music and mathematics ; Music and society in ancient China ; The legacy of China ; Ancient Chinese theories of painting ; Theories of music and art compared ; Art, music and ritual -- Spherical music. Art and music in ancient Greece ; The doctrine of the modes ; Moral effects of music ; Harmonic theory and practice ; Raphael and Pythagoras ; The Pythagorean consonances ; Pythagoras and Plato ; Music in Plato's Timaeus ; The myth of Er ; Celestial harmonies from Cicero to Mozart ; The power of music: Giovanni de' Bardi and the Florentine Intermedi of 1589 ; Monteverdi and the beginnings of opera -- Gothic architecture and polyphony. Medieval learning and the theory of music ; Builders and scholars ; Simson's theory of musical ratios criticized ; Villard de Honnecourt ; Development of polyphony ; Guide of Arezzo ; Musical space ; The rise of the motet ; Space in Gothic architecture ; Affinities between architecture and music ; The role of architecture in medieval musical theory ; Music and architecture in paradise -- Divine harmonies. The liberal and the mechanical arts ; The worth of painting ; Music as a model worthy of emulation ; Leonardo and music ; Proportion in Renaissance music and architecture ; Vitruvius, Alberti and the principle of 'harmonic' ratios ; Zorzi and Palladio ; Palladio's musical villas ; Brunelleschi, Dufay and S. Maria del Fiore ; Music and architecture at St Mark's Venice -- Mode and mood. Myth, legend and modern science ; Music ancient and modern ; Words and music: Monteverdi's 'second practice' ; Theories of music applied to painting ; Descartes on music ; Lomazzo's Treatise on Painting ; Theories of the modes revisited ; Poussin and Zarlino ; 'Mode' and 'mood' in Poussin's paintings ; The modes in seventeenth-century musical practice ; Painting and poetry ; Poussin's influence ; The Rhetoric of the Gods -- Melodies for the eye. Music and colour ; The harmony of colours ; Scale and spectrum in Newton's optical theory ; Arcimboldo ; Father Castel and his 'ocular harpsichord' ; Early performances ; Success and failure of Castel's experiments ; The symphony in the sky -- Epilogue: colour-music: the art of light. Castel's legacy ; Colour-music ; Nineteenth-century pioneers ; The advent of electricity ; A. W. Rimington's colour organ ; The 'art of mobile colour' ; 'Prometheus: the Poem of Fire' and Skryabin's 'light keyboard' ; Reactions to Skryabin's experiment.
Abstract	Ever since antiquity, philosophers have pointed to the supposed 'divine' character of music, and following Pythagoras's discovery of the mathematical basis of the musical scale, have posited a link between the mathematical order of music, the physical order of the universe and the moral order of human society. Both practicing artists and moralists came to believe that, by demonstrating an analogy with music, they could claim a dignity and value for their art--whether painting, architecture or sculpture--that it might otherwise lack. Why was this so? What was the point of such analogies? What advantages was music believed to enjoy, by comparison with the visual arts? Artists and critics frequently cited music as a manifestation of God-given order to which visual arts should aspire. But on what evidence was this belief in the inherently systematic character of music based; and in practical terms, how might visual art seek to emulate any such divine order or system? In what way might Gothic cathedrals have been based on systems of harmonic proportion? How did Poussin's search for a compositional principle derived from antique 'modes' in music resemble, or differ from, Palladio's attempts to embody musical 'harmonies' in architecture? And how did each artist conceive of the sense and value of such analogies? Systematic answers to such questions have hitherto been lacking, and, for the first time, the author makes direct and detailed comparisons between musical and pictorial practices in the long period covered by the book. He also provides a broad analysis of changes in the character of the analogies drawn at different times, using in his analyses critical and philosophical sources as well as evidence about artistic and musical practice. "That divine order" will be of interest to art historians and musicologists, to practicing artists and musicians and to students of cultural history.
Bibliography note	Includes bibliographical references (pages 277-283) and index.
ISBN	0714843512 (hbk.)

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Music	Music Stacks	ML3849 .V47 2005	✔ Available	Place Hold

That divine order : music and the visual arts from antiquity to the eighteenth century / Peter Vergo.

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