Conclusion: Survivals in Contemporary Musical Concepts

Chapters in this book

1. Frontmatter i
2. Preface vii
3. Photographic Sources xi
4. Contents xiii
5. List of Illustrations xvii
6. ONE. MUSIC OF THE SPHERES
7. Introduction to Part One 2
8. I. Theories of the Cosmos in Antiquity 7
9. II. The Hellenistic Period 20
10. III. The Early Christian Centuries 29
11. IV. The Early Works of Art 42
12. V. Tonal Theories of Music of the Spheres 70
13. VI. The Emergence of Celestial Musicians in Christian Iconography 87
14. VII. Late Medieval Writings and Dante's Paradise 116
15. VIII. Musician Angels
16. DANCING ANGELS AND THE DANCE OF THE BLESSED 130
17. SINGING ANGELS 138
18. ANGEL ORCHESTRAS 143
19. ANGELS OF THE PSALTER 173
20. ANGELS’ INSTRUMENTS – REAL OR IMAGINARY? 183
21. IX. Renaissance and Humanism 188
22. X. Two Offshoots of the Idea of the Music of the Spheres 203
23. TWO. MUSIC AND DEATH
24. Introduction to Part Two 218
25. XI. Music as a Symbol of Death in Antiquity 224
26. XII. Later Greek Concepts and the Hellenistic Period 242
27. XIII. The Christian Era the Development of Early Medieval Images 270
28. XIV. Later Medieval Images: The Dance of Death 291
29. XV. The Fifteenth-Century Mystics 313
30. XVI. Survivals of Earlier Images 320
31. Conclusion: Survivals in Contemporary Musical Concepts 337
32. Appendix I. EXCERPTS FROM FIRST CHAPTER OF LETTER ON HARMONY ADDRESSED TO ARCHBISHOP RATHBOD OF TREVES BY REGINO OF PRÜM 349
33. Appendix II. EXCERPTS FROM THE HYMN “NATURALIS CONCORDIA VOCUM CUM PLANETIS” (“NATURAL HARMONY OF THE TONK AND THE PLANETS”) 351
34. Appendix III. THE MUSIC IN DANTE’S COSMOS 352
35. Appendix IV. A NOTE ON THE SINGERS OF THE GHENT ALTAR 357
36. Appendix V. REAL OR IMAGINARY INSTRUMENTS: AN EXAMINATION OF THE BEATUS MANUSCRIPTS AND THE UTRECHT PSALTER 360
37. Index 365