Occultism and esotericism flourished in 19th-century France as they did nowhere else. Many philosophers sought the key to the universe, and some claimed to have found it. In the unitive vision that resulted, music invariably played an important part. This account begins with the anti-Newtonian "colour harpsichord" of Pere Castel, and closes with the disciples of Rene Guenon and their fierce anti-modernity; in between are the major figures of Fabre d'Oliver, Charles Fourier, Wronski, Lacuria, Saint-Yves d'Alveydre and their ...
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Occultism and esotericism flourished in 19th-century France as they did nowhere else. Many philosophers sought the key to the universe, and some claimed to have found it. In the unitive vision that resulted, music invariably played an important part. This account begins with the anti-Newtonian "colour harpsichord" of Pere Castel, and closes with the disciples of Rene Guenon and their fierce anti-modernity; in between are the major figures of Fabre d'Oliver, Charles Fourier, Wronski, Lacuria, Saint-Yves d'Alveydre and their disciples. Music was for them a blend of science and art that could bring insight into the cosmic order, and even into the mind of God. Theirs was a "speculative music" in the tradition of Pythagoras, Plato, Ficino, and Kepler, such as is generally thought to have died with the coming of the Enlightenment. On the contrary, as this book shows, it flourished more vigorously than ever. The author presents his subjects straightforwardly, explaining the many difficulties in their works and giving a context for their often surprising beliefs. He shows how speculative music relates to practice, treating specially the cases of Satie and Debussy, as composers familiar with occultism.
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Add this copy of Music and the Occult: French Musical Philosophies 1750 to cart. $108.21, good condition, Sold by Phatpocket Limited rated 4.0 out of 5 stars, ships from Waltham Abbey, ESSEX, UNITED KINGDOM, published 1996 by University of Rochester Press.
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