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Both from the Ears and MindThinking about Music in Early Modern England$
Both from the Ears and Mind: Thinking about Music in Early Modern England

Linda Phyllis Austern

Print publication date: 2020

Print ISBN-13: 9780226701592

Published to Chicago Scholarship Online: January 2021

DOI: 10.7208/chicago/9780226704678.001.0001

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(p.373) Index

(p.373) Index

Source:
Both from the Ears and Mind
Publisher:
University of Chicago Press

Pages numbers in italics refer to illustrations and musical examples.

acoustical theory, 126
acoustics, 3, 14, 40, 93, 115, 122, 163, 199;
and psychoacoustics, 162
affect, 68, 163–64, 173, 178–80, 188, 204, 208, 216, 235, 240, 253–54, 257, 263;
human voice, affective power of, 203;
music, affective powers of, 5, 17, 42, 157, 160–62, 165, 169–70, 189, 198–99, 229–30. See also emotion; passion
affection, 34, 113, 163, 188, 199, 209–12, 226–28, 231, 234–36, 241–42, 250, 256, 265–67;
of the heart, 68–69;
of the mind, 165, 204, 225
Agrippa von Nettesheim, Henry Cornelius, 12–13, 55, 57, 60, 72, 74, 113, 132, 137–38, 166, 197, 204–5, 210, 303n132
alchemy, 128–30, 140, 223;
as defined, 137;
detractors of, 137;
esoteric aspects of, 137;
magic, connection to, 136;
quackery, as epitome of, 137;
secrecy, as doctrine of, 138
Allison, Richard, 231
Allot, Robert, 32, 158, 160;
Wits Theater of the Little World, 44
alpherion, 233. See also orpharion
Alsted, Johann Heinrich, Encyclopaedia, 155
Ambrose, Saint, 44
Amphion, 132–33, 136, 164
Aquinas, Thomas, 72, 113
architecture, 2, 98, 117
Aristotle, 12, 17–21, 28, 30–31, 33, 40, 43–44, 59, 97, 98, 108–9, 111, 113, 138, 163, 172, 174–75, 177, 205, 207, 225, 228, 230, 233, 237, 247, 249;
De Anima, 210;
Politics, 10, 23, 231
Aristoxenus, 113, 163, 172
arithmetic, 2, 91–92, 94, 97, 100, 108, 114–15, 128, 137, 157, 168, 170–71
Ascham, Roger, 126, 232
astrology, 97–98, 128–30, 147, 210, 223;
agriculture and husbandry, 140;
and astronomy, 138–39;
definition of, 139;
detractors of, 137;
and divination, 140;
magic, connection to, 136;
as morally questionable, 146;
music, affinity with, 138, 140–44, 146;
numbers, rooted in, 140
astronomy, 92, 97, 108, 114, 117, 128;
and astrology, 138–39
Athanasius, Saint, 17, 19, 44, 57–58;
Expositiones in Psalmos, 59
Attey, John, 253
Augustine, Saint, 17, 33, 42, 44–45, 56–58, 60, 70, 75, 78, 113;
Confessions, 23, 47, 55, 59
Averroes, 175, 207
Avicenna, 174–75, 207
ayres, 48, 78, 134, 172–73, 262, 266;
and women, 263–64
Bacon, Francis, 26, 98, 101, 132, 140–41, 172–77, 183, 184, 188–89, 194–95, 200–201, 214, 238, 255, 265–66;
Advancement and Proficiencie of Learning, 221–22;
Essays, 1
Baldwin, William, 77;
Beware the Cat, 146–47
balladry, 57–58, 67;
broadside, 132;
as moralizing, 63
Barley, William, 119;
New Booke of Tabliture, 254;
Pathway to Musicke, 115, 119
Barnes, Joseph, 7 (p.374)
Barthes, Roland, 71
Bartholomeus Anglicus, 60;
De proprietatibus rerum, 58–59
Basil, Saint, 17, 55;
ad Psalmos, 47;
Homiliae in Psalmos, 59
Basse, William, Helpe to Discourse, 24, 27
Bateson, Thomas, Second Set of Madrigales, 230
Batman, Stephen, 58–63, 65, 67, 70–71, 101, 103, 105–6, 150
Baxter, Richard, 75
Becon, Thomas, 54–55, 58
Bedford, Countess of (Lucy [Harrington] Russell), 263
Bennet, John, 266
Bible in Englyshe, 48
Birchensha, John, 160, 170; Discourse of the Principles of the Practical & Mathematicall Partes of Musick, 115; Templum Musicum, 155, 156
Bloom, Gina, 3
Blount, Thomas, 105, 139–40
Blundeville, Thomas, 25, 29–31;
The Pathway to Musicke, 100
Boethius, 12, 20, 59, 95, 99, 105, 106, 108, 113, 124, 138, 140–41, 144, 155, 163, 166, 168, 240, 309n3;
De institutione musica, 9, 121
Boleyn, Anne, 251
Boorde, Andrew, 36, 224, 255
Brady, Nicholas, 192
Brathwaite, Richard, 69, 117, 119, 127, 130
Bray, Roger, 95
Brett, Philip, 8
Bright, Timothy, 246–47, 251, 255–57, 260–62, 264;
Treatise of Melancholy, 250
Brinsley, John, 32, 34–35
Brokaw, Katherine Steele, 49
Browne, Thomas, 148–50
Bruno, Giordano, 207
Bull, John, 151;
“Melancholy Galliard,” 257, 262–63;
“Melancholy Pavan,” 257, 261
Bullein, William, 223–24, 246
Bullokar, John, 93, 98, 100, 130, 137, 140;
English Expositor, 92, 246
Burton, Robert, 52, 198–99, 228, 247, 249, 255–57;
Anatomy of Melancholy, 251, 253–54
Butler, Charles, 48, 56, 58, 81–82, 115, 119, 165, 178, 228–29, 241, 259, 262;
Principles of Musik in Singing and Setting, 47, 50–51, 53, 85, 163
Byrd, William, 7–10, 18, 20, 23, 77, 151; “A gratification unto Master John Case,” 8; Psalmes, sonets, & songs of sadness and pietie, 54, 230, 233; Songs of Sundrie Natures, 59
Calvin, John, 45
Calvinism, 51;
public music and music making, effect on, 52
Campion, Thomas, 136, 141–42, 150, 238;
Third and Fourth Booke of Ayres, 134–35, 135;
“Thrice Toss These Oaken Ashes,” 134–35
capriccio, 214
Cartari, Vincenzo, 143
Casa, Giovanni della, Galateo, 31
Casaubon, Meric, 72
Case, John, 9, 23, 36, 91, 96–97, 106, 134, 194–95, 199, 227, 255;
Apologia musices, 7, 10, 12–13, 132;
Sphaera civitatis, 7
Castiglione, Baldassarre, 15, 21, 96, 162, 232, 237, 250;
Il libro del cortegiano (Book of the Courtyer), 10, 23, 66, 144, 160, 233
Catholicism, 131
Catholic ritual music, 55;
heresy in, 51
Cats, Jacob, 201;
Proteus ofte Minnebeelden, 202;
“Quid non sentit amor,” 203
Cawdray, Robert, 26–29
Cecilia, Saint, 87
Chambers, John, Treatise against Judicial Astrologie, 146
Chantry, John, 155, 157, 160
Chapel Royal, 50
Chapman, George, 191, 193, 199;
Ovids Banquet of Sense, 190
Chappell, William, 3
Charles I, 198
Charles II, 146
Charron, Pierre, 35
Chichester, Arthur, 230–31
Christian Church, musical heritage of, 43
Christianity, 54, 56, 67, 128, 136;
Eastern, 51;
as healing religion, 223–24;
ritual music, 51
Church Fathers, 42–43, 57, 75, 78
Church of England, 53–55, 60, 131
Cicero, 17–18, 28, 31
cithara, 122
Clement of Alexandria, 17
Cockeram, Henry, 139–40
Coeffeteau, Nicolas, 207, 214
Cogan, Thomas, 223–24, 228, 230–32, 237, 251, 255;
Haven of Health, 225
cogitation, 42, 73–74, 161, 165–67, 187, 205–6, 208
cognition, 5, 20, 174
cognitive theory, 67
Coke, Zachary, 28–30, 32
commendation of Musicke, A, 23–25
commonplaces, 2, 19, 24, 28–29, 32–34, 38, 44–45, 53–55, 57, 64, 72, 75, 85, 122, 157, 160, 163, 169, 235;
as term, 30–31
composition, 8–9, 20, 76–79, 85, 95, 199, 213, 253;
and artifice, 214, 241;
as composed, 141–42;
fantasy, association with, 212
concord, 59, 91, 94, 107–8, 111, 122, 132–33, 141, 146–47, 149, 151, 155, 158, 160, 162, 165, 168, 199, 201, 203;
Concordia, as goddess, 101, 117;
Concordia, as musical symbol, 103, 105, 150;
vs. discord, 103;
and sweetness, 100, 163, 170 (p.375)
Copenhaver, Brian, 3
Corkine, William, 253
cornett, 157
corporeality, 21, 65, 92, 208;
spiritual experience, rooted in, 68
Coryate, Thomas, 50–53, 72
Crooke, Helkiah, 171–76, 193, 197
Culpeper, Nicholas, 222
Daman, William, 54;
Psalmes of David in English Meter, 48
Danyel, John, 253
Davies, John, 32, 167, 201, 257, 261–62
Dee, John, 97, 113, 119–20, 130–31, 136, 139–40;
musica humana, and occult sympathies, combining of, 121–22
demonology, 130, 134
De musica, 17
Denny, Edward, 212
Desainliens, Claude, 49–50
Descartes, René, 203–4, 209, 211, 236, 265;
Cartesian revisionism, 205
diabolism, 129
Digby, Kenelm, 172, 200–202, 208
disputation, 10–11, 13–14, 22, 33–35, 43, 53–54, 85, 250
divination, 130;
and astrology, 140
divinity, 3, 26, 87, 99, 100–101, 108–9, 115, 120, 126, 148, 158–59, 162, 168–69, 171, 201, 208, 217, 224, 234;
cosmic secrets, 99, 127, 147;
and magic, 132;
and marriage, 149;
mathematical science, 166;
and medicine, 223;
and music, 132
Donne, John, 68, 99, 147, 194–95
Dow, Robert, 19–20
Dowland, John, 107, 169, 197, 253, 297n67;
First Booke of Songes or Ayres, 1–2;
“Flow My Tears,” 262;
“Lachrimae,” 262, 264;
“Melancholy Galliard,” 253, 263;
Second Booke of Songs or Ayres, 263;
“Semper Dowland, semper dolens,” 253, 264
Drummond, William, 122, 124
Du Bartas, Guillaume de Salluste, Divine Weekes and Workes, 239
DuJon, François, Painting of the Ancients, 100
Du Laurens, André, 167, 208, 210, 214, 246
Durandus, Guillelmus, 57
East, Thomas, 7, 23, 77, 263
Edwards, Richard, “In commendation of Musick,” 158–59
Edward VI, 52
Elisabeth of Bohemia, 209
Elizabethan era, 2–3, 51
Elizabeth I, 18, 43, 51–52, 58, 130, 134, 137, 242, 243, 251, 263
Elyot, Thomas, 12, 139, 228, 231, 237;
Castel of Helth, 225, 226
emblematics, 127, 130, 155, 199, 201
emblem books, 9, 109, 242
emblems, 103, 114, 120, 122, 201, 249, 254
emotion, 70, 157–58, 165, 220, 234. See also affect; affection; passion
encomium, 12, 23, 34, 36, 41, 77;
rhetorical genres, overlapping with, 11
England, 3, 11, 13–14, 17, 23, 44, 47, 49, 52–53, 57, 72, 85, 90, 113, 128, 130–32, 137–41, 146, 171–72, 184–85, 212, 217, 250;
Catholic minority in, 51;
Reform thought in, 58;
religious immigrants in, 51;
sound and music, anxiety about sensuality of, 70, 75
English Jesuit College, 51
Erasmus, 57
eroticism:
destructive aspect of, 68;
emotional capacity of, 68
ethics, 13, 30, 34, 96, 109, 111
Euclid, Elements of Geometry, 97
Europe, 51, 128–29, 138
Eusebius of Caesaria, 122
exordium, 11
fantasy, 212–16
Farmer, John, First Set of English Madrigals, 143–44
Feltham, Owen, 75, 80
Ferrand, Jacques, 249
Ficino, Marsilio, 12, 72, 113, 132, 134, 197, 199–200, 207
Fifteen Real Comforts of Matrimony, 150
Finney, Gretchen Ludke, 3
Florio, John, 36–37
Fludd, Robert, 113, 115, 147, 208;
cosmic harmony, notions of, 126;
Temple of Music, 118, 124;
Tomus secundus de supernaturali…, 209;
Utriusque cosmi majoris…, 117–18, 118, 125–26, 134–35
Folkerth, Wes, 3
Ford, Thomas, Musicke of Sundrie Kindes, 14
Foxe, John, 32
Fraunce, Abraham, 67, 75
free will, 90, 137, 140
Gaffurius, Franchinus, 99
Gainesford, Thomas, 24, 146;
The Rich Cabinet, 31
Galileo, 200–201
Gassendi, Pierre, 126
gender, 65–67, 69, 85, 163, 218, 263–64. See also sexuality
geography, 3, 92, 222
geometry, 3, 92, 97–98, 108, 114–15, 117, 120, 138–39;
geometrical theory, 126
Gibbons, Orlando, Parthenia, 151 (p.376)
Gibson, Anthony, 144
Giraldi, Gregorio, Historiae poetarum tam Graecorum quam Latinorum, 18
Godfridus, 143
Gosson, Stephen, 17, 22–23, 36, 60, 90–91, 94, 105–6, 141
Gouk, Penelope, 3, 133
Grassineau, James, Musical Dictionary, 213–14
“gratification unto Master John Case, A” (Byrd and Watson), 7, 8, 9, 25, 77
Greece, 30, 106, 128–29
Grimeston, Edward, 207
Haddon, Walter, 15
Hake, Edward, 48–49, 53–54
Hakewell, George, 113–14
Harington, John, 189
harmony, 20, 31, 38, 45, 54, 79, 82, 84–85, 91, 95–96, 100–101, 106–8, 111–13, 121–22, 126, 132, 134, 142–43, 147–48, 153, 160, 178, 190, 195, 201, 205, 218, 220, 228, 254, 256, 262;
building design, 117;
and marriage, 149–50, 152;
mathematical laws of, 191;
and music, 4, 157–59, 167–68, 191, 211, 242, 250;
and proportion, 4, 12, 114, 120, 133, 158, 211;
and skepticism, 126
harp, 109, 120, 157, 159, 164, 200, 202–3, 246, 254;
as body politic, 122
Hatton, Christopher, 230–31
Hawkins, Henry, Parthenia Sacra, 109, 111
healing, 3, 23, 66, 219, 222–24, 250–51, 255, 265
Henry VIII, 232, 251
Herbert, George, 83–84, 122
Herbert, Mary Sidney, 264
Hermes Trismegistus, 131–32
Hilliard, Nicholas, 243
Hilton, John, Ayres or Fa La’s, 254
Hippocrates, 225, 227, 237, 247, 249, 251, 254–55
Hoby, Margaret, 233
Hoby, Thomas, 11, 66, 160, 263
Holborne, Antony, 262–63;
The Cittharn Schoole, 1;
“The Countess of Pembroke’s Funerals,” 264;
“The Image of Melancholly,” 257, 258, 259, 260, 261;
Pavans, Galliards, Almains, and other short Æirs, 257
Holder, William, 211–12
Hole, William, 151–52
Holland, Philemon, 111, 140
Hollander, John, 3
Holyday, Barten, Technogamia, 253
Hooker, Richard, 74
hornbooks, 29
Howard, Phillip, 62–63
human voice, 204
Hume, Tobias, 19, 21;
First Part of Ayres, 14;
“I Am Melancholy,” 263;
“Pashion of Musicke,” 236;
Poeticall Musicke, 212;
“Spirit of Gambo,” 199
humors, 142, 159, 196, 204, 228, 236, 239, 246, 249, 254, 265–66;
humoral medicine, 238;
humoral theory, 238;
musical modes, 240–41. See also melancholy; sanguine
Hunsdon, Baron (Henry Carey), 58–59
Iamblichus, 113
iatromathematics, 128
imagination, 208–9;
and melancholy, 249–50;
and memory, 210;
and music, 211
Ingpen, William, 113–14, 142–43, 191–92
Ireland, 122
Isidore of Seville, 59
Italy, 117, 171
James I, 23–24, 122, 130, 150–51
Jerome, Saint, 55
John Chrysostom, Saint, in Psalmos, 59
Johnson, Mark, 68, 71
Jones, John, 227, 229, 235, 237
Jones, Robert, 253;
Ultimum Vale, 192
Jonson, Ben, 24;
Newes from the New World Discover’d in the Moone, 126
“Jovial Songs,” 251
Jupiter, 251
Justin Martyr, 17, 56
Juvenal, 17
Kabbalah, 130
Kepler, Johannes, 113, 126
Kindi, al-, 207
King, John, 150
Kircher, Athanasius, 113
Kövecses, Zoltán, 99
Ladies Dictionarie, 153
Lake, Edward, 254
Lakoff, George, 68, 71
Lancelot de Carles, 251
Lasso, Orlando di, 253
legerdemain, 129
Leicester, Earl of (Robert Dudley), 251
Lemnius, Levinus, 228–29, 236–39, 241, 243, 246, 249–50
Levi-Strauss, Claude, 105
Ling, Nicholas, 1–2, 3–4, 24, 160, 170, 193;
“Of Musicke,” 158, 251;
Politeuphuia, 32;
Wits Commonwealth, 44
listening, 25, 48, 50, 163, 178–79, 194, 257, 260
Lloyd, Lodowick, 60
Lodge, Thomas, 60
logic, 30, 33, 35
London, 19, 50, 135–36;
international Calvinist diaspora, center of, 51–52
Long, John H., 2–3
Lord Chamberlain’s Men, 59
Lorte, William, 27
lute, 120, 217–21, 223, 234–35, 247, 251, 254;
heavenly origins of, 224
lyre, 112, 121–22, 134, 142, 157, 221 (p.377)
Mace, Thomas, 87, 115, 121, 126;
Musicks Monument, 116
madrigal, 78–79, 197
magic, 3, 223, 304n143;
and alchemy, 136;
and astrology, 136;
Christian practice, close ties to, 130–31;
as defined, 128–30;
demonic, 72, 128;
depiction of, in entertainment, 132;
diversity of, 130;
dramatic representations of, 135;
erotic desire, link to, 136;
music, numerical roots of, 132–34, 136;
natural, 3, 93, 97, 128–30, 132–34, 136–38, 140, 249;
and science, 4;
and skepticism, 129;
and women, 130. See also occult sciences
Maplet, John, 143–44, 146
Marbeck, John, 24, 47, 58;
Booke of Notes and Common Places, 45
Marcus Aurelius, 11
Marenzio, Luca, 253
marriage, 150;
and harmony, 149;
and music, 151–53
Marsh, Christopher, Music and Society in Early Modern England, 3
Marston, John, 10, 170;
Antonio and Mellida, 208
Mary I, 51–52
mathematics, 21, 92, 95–97, 100, 111, 128, 130–33, 147, 176;
and divinity, 127;
as liberal, 98, 115, 139–40;
and music, 114, 127, 164;
and occult, 127;
spiritually dangerous practices, as code for, 127
McAdams, Stephen, 162–63
McLeod, Ken, 144
medicine, 222, 225, 227, 229, 251;
and divinity, 223;
and music, 322n24;
natural philosophy, 223
melancholy, 167, 198, 211, 215, 227, 230, 238, 241, 251, 262–63;
grief, synonymous with, 250;
hermits, association with, 249;
and imagination, 249–50;
and madness, 249;
and music, 246–47, 249–50, 253–58, 264–65. See also humors
Melvill, James, 251
memory, 30–32, 34, 101, 106, 199, 205–6, 215, 218;
emotion, provoking of, 161;
and imagination, 119, 210;
and music, 211, 224–25, 257;
and spirits, 210
Mercury, 142, 157
Meres, Francis, 24;
Wits Commonwealth, 163
Mersenne, Marin, 126
metaphor, 2, 16, 21, 37, 67–69, 99–101, 106–7, 112–14, 119–20, 124, 126, 129, 133–34, 147, 177, 191, 193, 201, 203, 245;
and allegory, 105;
and metaphysics, 4;
and music, 4, 75, 105–6, 151–53, 162, 169, 193;
of sexual violence, 71, 90
metaphysics, 4, 21, 97, 129, 153, 218, 266
Middle Ages, 95, 138, 144, 208, 222
Middleton, Thomas, The Witch, 304–5n153
Mildmay, Grace (Sharrington), 263
minstrels, 16–17
Mirmonde, Albert Pomme de, 144, 146
Moffet, Thomas, 237;
Healths Improvement, 227
monochord, 111, 121, 124
Montaigne, Michel de, 28, 91
moral philosophy, 2, 34
More, Henry, 196–97;
Cupids Conflict, 79
Morley, Thomas, 19, 22–23, 33, 94–96, 99, 132, 143, 178, 197, 212–14, 231, 253, 259–61, 263, 265–66;
A Plaine and Easie Introduction to Practicall Musicke, 1–2, 10, 24, 27–28, 77–78, 114–15
Moxon, Joseph, 128, 130, 141, 147, 170
Mulcaster, Richard, 36, 74, 170, 210, 224, 233–34, 237
music, 8, 29, 37–38, 108, 139, 192, 216;
abstraction and concretion, conceptual space between, 2;
and adhortation, 40;
affective powers of, 5;
airy nature of, 198–200, 212, 256;
and allegory, 105;
antiquity of, 158;
architecture, relationship between, 117;
argument about, 9–10;
arithmetic, debt to, 114–15;
as art, 2, 59, 61, 87;
art and science, 91–92;
astrology, affinity with, 138, 140–44, 146;
and astronomy, 97, 100–101, 114;
as audible, 101, 103, 106, 142, 167–68;
audible harmony, 167;
audible music, as harmful, 57;
bodily and spiritual ways of knowing, 4;
body and mind, dissolving bonds of, 74–80, 83–85, 90, 97, 167–69, 218, 224, 234–37, 251, 255, 267;
Calvinism, effect on, 52;
carnality of, 57;
and chastity, 66;
Christian contemplation, 217;
in Christian worship, 4;
and chromaticism, 258–59;
church music, 55–57;
church music, objections to, 47–48;
and cogitation, 208;
and cognition, 5, 174;
cognitive-affective, 204–5;
cognitive-linguistic framework of, 169;
common stock of words, borrowing from, 54;
as conceptual tool, 101;
and consciousness, 5;
corporeal perception of, 90, 163–64, 256;
cosmic secrets, 157–58;
as dangerous, 70–71;
darker aspects of, 71;
definitions of, 94–96, 158, 165;
deleterious effects of, 16–17;
dialectical understanding of, 15, 21–22;
and diatonicism, 258–59;
and discourse, 9;
disputational approach to, 34–35, 43, 53–54, 85;
divine effects of, 87, 90, 147, 164, 234–35;
as divine gift, 157–58, 220;
double principle of, 234;
ecclesiastical use, 41;
and ecstasy, 81–82;
as embodied, 38;
embodied practice, 9;
emotion, provoking of, 161, 237;
erotic, rhetorical alliance with, 69–70, 136;
erotic love, likened to, 65, 67;
and eternity, 167;
ethics, association with, 13;
experience of, 161–64;
fantasy, and imagination, conflation with, 208;
geometry, debt to, 114–15, 117;
as gift of God, 44;
harmful effects of, 15, 231;
and harmony, 4, 157–59, 167–68, 191, 211, 242, 250;
haunting quality of, 257;
healing pathways of, 219–25, 227–33, 235, 251, 253, 255, 264–67;
in human ecology, 5;
human voice, 204;
humoral theory, 238;
and humors, 237–43, 245–47, 251;
and imagination, 208–11;
interior process of, 193–94; (p.378)
kinetic energy of, 194, 197, 219, 235, 257;
liberal and mechanical knowledge, dichotomy between, 85, 91–92;
liberal arts tradition of, 12–13;
as liberal science, 92;
magic, numerical roots of, 132–34, 136;
as manifestation of God, 124, 126;
marriage, as metaphor for, 151–53;
mathematics, overlapping with, 114, 127, 164;
medical manuals and moral philosophies, 14;
and medicine, 322n24;
and melancholy, 246–47, 249–50, 253–58, 264–65;
and memory, 210–11, 224–25;
and Mercury, 157;
and metaphor, 4, 105–6, 169, 193;
as metaphysical, 4, 90;
and moderation, 60–61;
moralizing balladry, 63;
musical miracles, 43;
mystery of, 158–60;
natural philosophy, place in, 93, 96, 101;
notation, 103, 105;
numbers, rooted in, 4, 140;
and occult, 127;
in occult practices, 132;
performance practice, as problematic, 58;
personal and collective memory, 161;
pleasure of, 167;
and poetry, 211, 253;
positive effects of, 230;
power of, 42, 165;
praise-and-dispraise exercises, Christian aspect of, 47–48;
praise and dispraise of, 76, 85;
praise and dispraise of, as literary genre, 60, 75, 164;
praise of, 9, 11, 15–16, 40;
and proportionality, 4, 155, 163, 165, 191;
psychology of, 162–63;
psychophysical change, agent of, 161;
psychophysical health, maintaining of, 233;
rapturous potential of, 71–72;
rationality and intellectual self-discipline, 108–9;
reach and significance of, 15;
religious principles, expression of, 54;
religious ritual, 43;
as restorative, 157;
and rhetoric, 4, 7, 41–42, 54–55, 64, 66, 74, 82;
rhythm of oration, 61;
in sacred space, 50–51;
as sanguinary, 245;
as science, 2;
sectarian boundaries, crossing of, 54;
secular balladry, 57–58;
self-diagnosis and maintenance, 251;
self-integrity, endangering of, 73;
sense and intellect, bridging of, 99–100, 105–6, 112–13, 122, 132–33, 207–8;
sight and sound, intersection between, 119–20;
and signification, 70, 85, 101, 105;
social belonging, 162;
social space, creating of, 161;
and soul, 198, 204–6, 236–38, 256;
speaking of vs. performing, 4;
and speculation, 94–97;
spirit, concept of, 194–201, 205, 214–15;
text, unity of, 188;
and theology, 149;
as therapeutic force, 221–22;
trance states, inducing of, 72;
transformative capabilities of, 161–62, 165;
universal order, as center of, 165;
various effects of, 231;
musica humana, 192
musica instrumentalis (sounding music), 78, 96–97, 155, 162, 166–67, 191–92
musical instruments, 56, 61, 65, 91–92, 99, 101, 103, 127, 132, 142, 144, 146, 157, 173, 199, 202–4, 213, 232, 236–38, 251, 256;
as divine, representing of, 122, 124, 126, 134;
geometrical principles, constructed on, 115;
and occult, 200;
as signifiers, 120–21. See also individual instruments
musical tourism, 4
musica mundana (music of the spheres), 106–8, 138, 192
mysticism, 97
myth, 105;
retelling of, 122
Nabbes, Thomas, Microcosmus, 253
natural philosophy, 3, 20, 93, 96, 101, 109, 111, 122, 126, 138–39;
and medicine, 223
necromancy, 130
Neoplatonism, 43, 72, 113, 131–32, 172, 196
Netherlands, 250
Newton, Isaac, 113, 131, 136
North, Roger, 213
Northbrooke, John, 60, 169–70
Norton, Thomas, 138;
Ordinall of Alchymy, 137
numerology, 3, 128, 138–40
occult sciences, 147, 224, 253;
Christian practice, close ties to, 130–31;
and concealment, 127;
and mathematics, 127;
musical instruments, 200–203;
and revelation, 129;
secrets, suggestion of, 127, 136;
and skepticism, 139;
textual transmission of, 131–32. See also magic
Ornithoparcus, Andreas, 107–8, 168;
Micrologus, 109, 111
orpharion, 144. See also alpherion; Rose, John
Orpheus, 112, 132, 134, 136, 156, 157, 161, 164
Palfryeman, Thomas, 11
Paracelsus, 130, 132, 223–24
Parker, Matthew, 59
Pathway to Musicke, The, 36
Paul, Saint, 56–57, 68–69
Peacham, Henry, the Elder, 34, 67–69, 75, 105, 119
Peacham, Henry, the Younger, 99–100, 115, 117, 122, 130, 193–94, 200–201, 232, 250, 255;
“Melancholia,” 248;
melancholy, dramatic personification of, 247;
Minerva Britanna, 123, 242–43, 245;
“Sanguis,” 244, 245;
“Tantó dulcius,” 101, 102, 103
Persia, 128–29
Petrarch, 180
Philips, Katherine, 204;
“To my Lucasia, in defense of declared friendship,” 203
Phillips, Edward, 81, 223
Philo, 20
physics, 129
Pickering, Jane, 264 (p.379)
Plato, 59, 75, 84–85, 97, 108, 120, 163, 166, 177, 195, 199–200;
Timaeus, 113
Platonism, 109, 111, 131–32, 136, 149, 165–66, 235, 256
Playford, Henry, 251, 253, 256
Playford, John, 251, 253, 256;
Antidote Against Melancholy, 252
Pliny, 17, 100, 112, 140;
Natural History, 111
Plotinus, 113
Plutarch, 17, 44, 113;
De Musica, 22–23;
Morals, 111
poetics, 2, 126–27
poetry, 32;
lyric, 3;
and music, 211, 253
Politeuphuia, 1
Poole, Josua, 74;
Helpe to English Poesie, 163
Porta, Giambattista della, 130, 132
Praise of Musicke, The, 7, 9–11, 12–13, 15, 17, 24, 36, 41–42, 44, 47, 50–51, 53, 55–56, 58, 60, 72–74, 85, 108–9, 111–12, 151, 166, 177, 227–30, 240–41, 250–51, 255, 265;
musical miracles, 43
predestination, 137, 140
Prester John, 51
Proclus, 97
proportionality, 108, 148;
and music, 4, 138, 163, 165, 191
Prynne, William, 17
psalms, 15, 17, 45, 47–48, 54, 56–57, 76, 227, 234, 254, 263, 265
Ptolemy, 113
Purcell, Henry, 192
Purchase, Samuel, 94
Pythagoras, 90–91, 97, 109, 114, 117, 121–22, 131–32, 140, 165–66, 195, 199–200, 256;
auditory cognition, 111;
cosmology of, 111, 141;
and proportionality, 138;
universal harmony, model of, 108, 111–12;
and zodiac, 141
Pythagoreanism, 105, 111–13, 126, 164
Quarles, Francis, 122;
Emblemes, 109, 110, 111
Quintilian, 12, 26
Ralegh, Walter, 130, 140
Ramus, Petrus, 33
Ravenscroft, Thomas, 19–23, 94–95, 210, 245, 266–67;
A Briefe Discourse of the true (but neglected) Use of Charact’ring the Degrees, 24, 72, 231;
Whole Booke of Psalmes, 254
Read, Alexander, 172, 191
reading, 30;
contradictory authorities, navigating of, 27–28;
as creative process, 26;
importance of, 25;
selection of material, 28;
speech and writing, continuous with, 29
Recorde, Robert, 92, 94, 97, 294n17
recorder, 146
Reformation, 12, 23, 35, 55, 57–58, 129–30, 149, 198
Reisch, Gregor, 207;
“De potentiis anime sensitive” (“Of the Powers of the Sensitive Soul”), 205–6, 206
religio, 4
Restoration, 54, 85, 103, 106, 114, 121, 160
Reynolds, Henry, Mythomystes, 112
rhetoric, 9–12, 15, 23, 28, 30, 33–34, 37–38, 57–58, 63, 65, 67, 70, 79, 81;
and logic, 35;
manuals of, 75;
and music, 4, 7, 41–42, 54–55, 64, 66, 74, 82
Robinson, Thomas, 148–49, 219;
The Schoole of Musicke, 24, 168, 224
Rogers, Daniel, 150–51;
Matrimoniall Honour, 153
Rollenhagen, Gabriel, 38
Rome, 51, 128–29
Romei, Annibale, 96–98
Rose, John, 144;
orpharion, 145
Rosseter, Philip, 253
Russell, Lucy (Harrington). See Bedford, Countess of (Lucy [Harrington] Russell)
sacred music, 43–44, 48, 51, 53–54, 130–31;
popular drama, 49;
power of words, link to, 56
Salmon, Thomas, 105–6, 124;
An Essay to the Advancement of Musick, 103, 104
Sandys, George, 199
Sanford, James, 13
sanguine, 150, 238–43, 245–47
Saturn, 246, 249
Saul, 164, 235, 246, 256
Scholastics, 205
science, 13, 15, 20–22, 36–38, 68, 94, 128, 137, 171, 224;
and art, 91–92, 115;
and magic, 4
scientia, 4
Scotland, 122
secrets, 23, 95, 97, 99, 127, 130–31, 136, 138, 141, 147, 157–59, 195, 200. See also occult sciences
“Sermon of the Place and Time of Prayer,” 52–53
sermons, 35
sexuality, 65, 68;
ecstasy, concept of, 71–72;
as force, trope of, 71;
and music, 153;
rape metaphors, 71;
self-control, loss of, 71. See also gender
Shakespeare, William, 3, 49, 59, 67, 70, 105–7, 170, 191;
As You Like It, 263;
Cymbeline, 69–70;
Hamlet, 69;
Macbeth, 69;
Merchant of Venice, 89–91, 93–94, 153, 160–65, 170, 192, 194, 197;
Othello, 69, 245;
Richard II, 1–2;
Romeo and Juliet, 1–2, 210;
Sonnet 128, 189–90;
Tempest, 304–5n153;
Twelfth Night, 214–16
shalmes. See shawm
shawm, 230
Short, Peter, 1–2
Sidney, Philip, 32, 251, 264
Simpson, Christopher, 111, 120–21, 214;
Compendium of Practical Musick, 170, 213
Simson, Archibald, Heptameron, The Seven Dayes, 122, 124
singing, 17, 24, 45, 52, 67, 79, 119, 178, 179, 228–30, 232;
spiritual advantages of, 233–34
Smith, Bruce, 3
Smith, Henry, 100, 150 (p.380)
solemn feasts, 50–51
songs, 31–32, 45, 47, 57, 59, 61, 76, 94–95, 135–36, 141, 172, 197, 199–200, 204, 212, 230–31, 241, 245, 251, 253, 256, 263–64;
as accessible, 244;
consort songs, 19, 48;
of erotic love, 243;
lute songs, 14, 193;
marriage songs, 69;
part-songs, 24, 48, 85, 267;
as sacred songs, 48, 58;
spiritual songs, 56, 84;
as utilitarian, 266
sound, 3, 12, 17–21, 23, 37–38, 52, 59, 61, 63–64, 74, 85, 101, 103, 107, 119–20, 124, 133, 147–48, 158, 160, 163, 175–76, 178, 188, 190–91, 193–94, 200–201, 211–12, 240;
erotic, rhetorical alliance with, 70, 189;
and imagination, 210;
and memory, 210;
and motion, 173, 199;
physical nature of, 162, 171–72;
power of, 170;
processing of, 174;
psychological nature of, 164–66;
response, provoking of, 67, 166;
as spirit, 195, 197, 214;
and vibration, 167
Spain, 50
Spencer, John, 198
spirit, 21, 57, 69, 72, 97, 147, 150;
animal spirit, 206, 211;
concept of, 195–97;
and soul, 205
spirit beings, 120, 134, 136, 146, 159
spirits, 16, 32, 75, 160–61, 164, 188, 193–95, 198–204, 207, 209, 212, 214–15, 220, 222, 227–30, 235, 237, 254, 256, 265–66;
memory, link to, 210
spiritual experience, 42, 68, 70, 82–83, 90, 131, 167–68, 172, 177, 191, 233, 246
spirituality, 192
Steinberg, Michael P., 257
Stepney, John, 49–50, 52–53
Stoics, 196
Stuart, Elizabeth (princess), 209
Stuart era, 2, 127, 146
Stubbes, Philip, 16–17, 36, 64–68, 70, 74, 250;
The Anatomie of Abuses, 13–14, 62–63
superstition, 129
Surphlet, Richard, 167
Sydenham, Henry, 38, 173, 175, 188, 191
Sylvester, Josuah, 239
sympathy, 121, 138, 144, 192, 194, 199–205, 212, 214, 218, 220, 235–36, 256
synesthesia, 117, 174–75, 207, 215
Synopsis of Vocal Music (treatise), 204
Tallis, Thomas, 18, 20, 59
tavern songs, 57–58
Temperley, Nicholas, 283n10
temporality, 129
theorbo, 103, 109, 120
theurgy, 130
Timmers, Renee, 257
Tomkins, Thomas, 72, 77–80, 82–85;
“Above the Stars my Saviour Dwells,” 73;
“Musicke Devine,” 80, 81, 82, 83, 84;
Songs of 3. 4. 5. and 6. Parts, 76
Tomlinson, Gary, 3
Topsell, Edward, 69–70
travel, 2, 23, 50–51
Trelcatius, Lucas, Common Places of Divinity, 75
Trethowan, W. H., 257
Trevelyon, Thomas, 45, 47–48, 92–94, 114;
Pictorial Commonplace Book, 93;
“Syngyng men,” 46
trumpet, 164, 227, 230–31, 264–65
Tudor era, 2, 17, 54, 85, 95, 127
Turner, Robert, 130
van der Noot, Jan, 115
Vaughan, Thomas, 147
Vaughan, William, 208, 214;
Golden-grove, 95–96
Venice, 50–51, 72
Venus, 142–44, 146
Vermigli, Peter Martyr, 44–45, 60;
Common Places, 71
viol, 92, 103, 111, 121, 133, 148, 157, 200, 203, 212–13
violin, 120, 157
Virgil, 17–18
virginals, 189, 241, 251, 262
Walkington, Thomas, 195, 214, 238, 241–42
Wallis, John, 211–12
Watson, Thomas, 11, 14, 23, 32;
“A gratification unto Master John Case…,” 7–9, 25, 77
Watts, William, 70
Weelkes, Thomas, 188;
“The Andelusian Merchant,” 178, 184, 185–87, 185, 186, 187;
Ayeres or Phantasticke Spirites for three voices, 212;
Balletts and Madrigals to Five Voyces, 16;
“Thule, the Period of Cosmographie,” 178–79, 179, 180, 181–83, 181, 182, 183
Wells, Robin Headlam, 144
White, Nicholas, 23
Whythorne, Thomas, 18–19, 94;
Songes, for five voyces, 14–15;
Songes, for three fower and five voyces, 56
Wilkins, John, 250
Wilkinson, Robert, 69–70
Willis, Jonathan, 49
Wilson, Thomas, 34
Winkler, Amanda Eubanks, 3, 146
Wirsung, Christoph, 249, 262
Wisdom, Gregory, 134
witchcraft, 72, 74, 132;
dramatic representations of, 135
witch trials, 135
Wither, George, 38, 40, 56, 254;
A Collection of Emblemes, Ancient and Moderne, 38–39;
“Musica serva Dei,” 39
Wotton, Henry, 117
Wright, Leonard, 147–48, 164–66, 169;
“Of Musicke,” 237
Wright, Thomas, 15, 21, 58, 173, 175, 235–37, 254–55, 264;
Passions of the Minde in Generall, 33
Zarlino, Gioseffo, 259;
Istitutioni harmoniche, 14, 121