Although most salonnières of the eighteenth century were members of the elite European classes, this was not always the case. In some instances, professional artists became salon hostesses themselves. This chapter discusses one such story – that of Marie-Emanuelle Bayon (1746–1825), a professional composer and keyboardist who went from being a salon habituée and participant to assuming the role of hostess herself. While the surviving evidence about Bayon’s life and career is scant, it seems that Bayon may have used the institution of the salon as part of a strategy to navigate the complexities of being a woman artist. On the one hand, she needed to make a living through her artistry, and for this, she attained the patronage of her wealthy contemporaries, as well as taking up opportunities for teaching and publication. On the other, she needed to balance displays of her creativity and talent with the strictures that were increasingly placed on women around public performance and participation in the public sphere. Thus, even as some women sought opportunities to perform at venues such as the Concert Spirituel, there is no record that Bayon ever performed publicly. This chapter suggests that this may have been a deliberate decision to avoid exposing herself to the scrutiny and criticism that sometimes resulted from such public activities. She appears to have used the institution of the salon, first as habituée and later as salonnière, to navigate these social constraints.

According to Dazai Shundai, ritual and music are essential elements of the government of the sages. They complement each other, with ritual drawing strict distinctions of status and establishing ethical standards for different types of human relationships, while music functions as a gentle force for bringing people together in harmony. Compared with other methods of governing, the superiority of ritual and music lies in their ability to enter people on a deep level and transform their customs, creating long-lasting stability without the need to rely solely on explicit laws. In order for ritual and music to work properly, though, they must be established by rulers who look back to the traditions of the ancient Chinese sage kings. In earlier times, Japan learned such ritual and music from China and used these to govern, but in recent times, vulgar ritual and music have arisen from among the common people, with detrimental effects for Japanese society. To remedy this situation, vulgar ritual and music need to be suppressed and replaced with proper ritual and music.

Describes Meade’s family background and education at preparatory and public schools.

This chapter is concerned with the decline of Greek and Roman poetry and the rise of European culture in the Middle Ages. The decisive difference between the ancients and the moderns concerns poetry in the widest sense, that is, the culture of beauty. A number of fragments address this difference. The significance of Christian hymns and the Psalms for the European nations is discussed, with particular attention to national traditions in music, language, and the sciences. A distinction is made between the way the northern and southern European traditions use tone and alliteration. The culture of Arabic is seen as a strong influence on the culture of medieval Europe, passing through Spain by way of the troubadours. The difficulties in defining national character or national poetry are discussed, and the value of medieval poetic arts in Europe is described as an awakening of independent thinking and unencumbered judgement. This makes the medieval poetic arts of Europe a gay science, an expansion of the fields of science, and a general unification of the nations.

Music is associated with reduced pain, anxiety, and sedative requirements in ICU patients. Slow-tempo music (60 to 80 beats per minute) in particular has been associated with a neuromodulatory effect. The minimum duration of music listening associated with decreased pain may be as brief as 20 to 30 minutes, resulting in a nearly 2-point decrease in self-reported pain scores (on a 0-10 scale). Longer duration of music listening (i.e., more than 45 minutes) is associated with improved sleep quality and less depressive symptoms after critical illness. Through its interaction with various cortical areas, music may also offer beneficial effects on cognition. Neurocognitive processing of music invokes brain centers related to emotion, perception, cognition, and the autonomic nervous system. In EEG and functional MRI studies, music increased communication between the functional neural networks typically disrupted in delirium and dementia. Whether music listening in ICU patients with delirium can improve long-term cognitive function is not clearly understood but is being evaluated in randomized controlled trials. Ongoing clinical and scientific work will lay the groundwork to identify the neuroprotective mechanisms by which music may reduce the risk of ICU delirium and long-term cognitive impairments.

Chapter 22 examines music in more detail, considered as a theoretical science dealing with the relations (or proportions) between numbers. The ontological status of the objects studied in theoretical music (‘harmonics’) is described and the primary proportions (or intervals), identified as concords, are presented. The importance of music as providing models for subordinate sciences, in particular ethics and physics, is sketched.

The importance of music is conspicuously evident in Cicero’s responses to Ennian tragedy: he refers to connoisseurs who could identify characters from single notes played in the tibia and to accompanied performance. The metres used in the fragments of Ennius’ tragedies reveal that Ennius made the Greek tragedies he adapted considerably more musical, and that music contributed significantly to the plots and emotional tone of the plays and to Ennius’ portrayal of character. In his Medea, for example, Ennius appears to have added music to Medea’s initial address to the chorus (90 TrRF II), to the agon between Jason and Medea (92 TrRF II), and to Medea’s final farewell to her children (97 TrRF II).

This chapter examines how Bloomsbury and music intersected at the figure of Edward J. Dent, the Cambridge music scholar. It offers Dent as an embodiment of which Bloomsbury and early twentieth-century musical culture in England and Europe were mutually constitutive, using him as a point for comparison to gauge Bloomsbury’s musical enthusiasm and sensibility. The chapter first surveys existing musical-literary criticism within studies of Virginia Woolf and E. M. Forster. It then explores the overlaps between Dent and Bloomsbury on issues including non-European musical cultures, sexuality, personal relationship, modernist aesthetics, music as a performing art, international politics, education, and state funding. Following a discussion of Dent’s involvement during and after the Second World War in John Maynard Keynes’ work on “national” opera, the chapter ends with Keynes by examining one of his letters to the BBC as an epitome of music’s protean role in Bloomsbury.

Chapter 4 explores how the literary collection adapted to audio recording to form a species of sonic cartography. I argue that Zora Neale Hurston’s fieldwork in Jamaica and Haiti presented US borders in stereo, both offset from Caribbean islands and overlapping with them. Hurston’s notion of a sonic boundary is distinct from that heard by Jean Toomer, for whom folksong is a spiritual rejoinder to the violence of agricultural labor. Toomer’s swansong to Georgia’s small-town sugarcane harvest is echoed and distorted by Cuban soundscapes. Poems about cane harvest by Agustin Acosta and Nicolás Guillén document of Cuba’s rather different agricultural identity and pose toward US imperium. In these cartographies, I argue, the line demarcating continental nation from island colony is not just aquatic, but also sonic: heard in stereo, and often out of phase.

This chapter situates itself between the untheorizable singularities of specific case studies and the unsustainable generalities that usually result from attempts at broad historical characterization.  By looking at everything from a late fifteenth-century image of Jews making music in a Prague synagogue to armies of wooden klezmer musicians in a twenty-first-century store window, and from a nineteenth-century Jewish musical caricature to a bit of concentration-camp ephemera involving Hebrew words spelled with musical notes, this chapter endeavors to give some of the flavor of the Czech Jewish musical experience.

Music & spoken language share many features by combining smaller units (e.g., words, notes) into larger structures (e.g., sentences, musical phrases). This hierarchical organization of sound is culturally contingent & communicates meaning to listeners. Comparisons of music & language from a cognitive neuroscience perspective provide several insights into commonalities & differences between these systems, how they are represented in the brain. The cognitive neuroscience research of music & language, emphasizes the pitfalls & promises identified, including (1) the apparent acoustic & structural similarities between these systems, (2) how both systems convey meaning to listeners, (3) how these systems are learned over the course of development, & (4) the ways in which experience in one domain influences processing in the other domain. We conclude that searching for similarities in how these complex systems are structured (e.g., comparing musical syntax to linguistic syntax) represents a pitfall that researchers should approach with caution. A promising approach in this area of research is to examine how general cognitive mechanisms underlie the learning & maintenance of both systems

Inspired by interesting research in the field of neuroscience, Dorothea Haspelmath-Finatti argues that singing in a liturgical context is not only an essential part of the act of praising and praying, but it is also healthy.

What makes music an enduring art that has withstood the test of time across so many cultural contexts? Here we review the literature on emotion and reward as it relates to music, grounding our review on multiple methodological traditions in neuroscience, as well as newer work that combines these tools with music technology and sound design. Key to these disparate lines of research is the idea that the reward system is functionally and structurally connected to the auditory system, giving rise to individual differences in the sensitivity and felt emotion for music. We conclude with implications of this research for the design and implementation of music-based interventions for improving cognitive and brain health, especially for those with neurodegenerative diseases.