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.

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.

Music is a powerful resource for human relating and the expression of meaning. From birth, infants are sensitive to music, explore vocal sounds in musical ways and have the ability to process music. Studies examining interactions between infants and their adult caregivers have discovered the fundamental musicality of these interactions, and the more musical these interactions, the more meaningful they tend to be. However, the potential of music functioning as a conduit for meaning expression, particularly in application to the education and care of young children, has largely been overlooked.

In this chapter, Sarah Parker interviews Tom Floyd and Sophie Goldrick of Shadow Opera about the process of creating Veritable Michael, an opera and podcast inspired by Michael Field’s life and work. Tom Floyd is the Artistic Director of Shadow Opera and Sophie Goldrick is the Producer and mezzo-soprano, who sings the part of Katharine Bradley in the show. In this interview, they respond to questions about how they originally conceived the piece, why opera is a suitable form for telling Katharine Bradley and Edith Cooper’s story, how the collaborative creative process worked, and how audiences have reacted to the performance and the podcast.