000			01790nab a2200193 c 4500
001			myd_33332
003			ES-MaCDM
005			20240923093559.0
008			181003s1998 sp ||||fr 00| u|spa u
040			_aES-MaCDM
100	1		_aPhyllis Austern, Linda _9131154
245	1		_aNature, Culture, Myth, and the musician in Early Modern England _cLinda Phyllis Austern
260			_c1998: _bAmerican Musicological Society], _a[Richmond (Va)
300			_c48 páginas
520			_aIn sixteenth- and seventeenth-century England, music was often considered an aspect of natural philosophy, the general study of natural and cultural phenomena that had been inherited from classical antiquity and the Middle Ages, but was undergoing rapid metamorphosis into more modern fields of science, technology, and the arts. Against this background, many writers began to invoke machine metaphors and the triumph of cultural products over raw nature and Nature's corollaries in the form of women and animals. Older epistemologies of magic and metaphor, which had also incorporated gendered ideas of artifice, perfection, nature, and creation, informed these emerging ideas. The result on the one hand was a practice of secular musical composition that included sounds from the natural world as feminine novelties to be bounded and improved by stylistic artifice. On the other was a documentary allegorization of music that drew from chronicle history, mythology, natural science, religion, and politics to demonstrate the moral and aesthetic superiority of music and musicians that elevated natural elements into enduring musical artifice.
773	0		_tJournal of the American Musicological Society _072899 _wMyd_16042 _gVol. 51, núm. 1, 1998, Spring, p. 1-47
903			_a33332 _b33332
942			_cART _2z
999			_c89053 _d89053