Medieval methods to visualize sound developed in dialogue with geometrical, arithmetical, cosmological, grammatical, philosophical, logical, and theological knowledge. Located between the sensory and the imaginative, the quadrivium of musica, geometry, arithmetic, and cosmology was nonetheless grounded in the realm of the visual. Visualizations of the harmony of the spheres, the harmony of the human body, and bodily perceived sounds appear in manuscripts as diagrams, graphs, and line drawings using parchment, ink, and pigments. The talk focuses on two circular medieval diagrams from the 9th and 10th centuries. Close analysis of the diagrams and their codices will demonstrate how medieval scribes and scholars created new shapes and forms on parchment to move between dimensions.
"Art of Diagram" is an ongoing Open Access publication project, which is based on the pictures/diagrams of the Virtual Museum "Sound Colour Space". The pictures of the virtual museum website (2017) are archived one-to-one in the media archive. The publication (print/ePub) is planned for 2022.
Led by Daniel Muzzulini (CH) and Susan F. Weiss (U.S.), an international group of scientists formed a study group "Musical Diagrams", officially installed at the International Musicological Society in September 2020. The "Art of Diagram"-online meetings of the study group and other materials are published here.
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Preparation meeting of the panel presentation at the annual conference of the Renaissance Society of America (2021). Changes in Visual and Material Culture as Revealed in Early Modern Printed Music Treatises
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Zürcher Hochschule der Künste
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Importiert am
26.06.2021
Übergeordnete Sets
3
"Art of Diagram"-Talk 10. Zooming into Chroma Spaces
The epistemic shift underlying the Scientific Revolution may be traced in parallel developments in the mapping of musical and physical space. Circular diagrams in music theory texts reveal the influence of spatial and temporal disciplines, including astronomy, chronometry, geography, and navigation. If these sister disciplines had always been tied to music through musica mundana, their influence on the mapping of tonal space only intensified in the early 17th century, exhibiting a concurrent shift from symbolic to empirical representations. Zarlino's circular illustration of the senario, for example, legitimates the syntonic diatonic scale; its circular organization has nothing to do with tonal circularity, but rather with graphical logic and rhetoric. In contrast, circles by René Descartes, Quirinus van Blankenburg (based on work by Christian Huygens) and Isaac Newton present logarithmic circular divisions of the scale—approaches made possible by recent innovations by Simon Stevin and John Napier.
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Zürcher Hochschule der Künste
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