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Music as Medicine
6 a>&0 funr et
girate, eti
Frontispiece Aldobrandino o f Siena, Livres pour la sauté garder
(Régime du corps), late thirteenth century. British
Library, Sloane MS 2435, f. 10v.
Music as Medicine

The History of Music Therapy


since Antiquity

Edited by

PEREGRINE HORDEN

D Routledge
Taylor & Francis Group
LONDON AND NEW YORK
First published 2000 by Ashgate Publishing

Published 2016 by Routledge


2 Park Square, Milton Park, Abingdon, Oxon 0X14 4RN
711 Third Avenue, New York, NY 10017, USA

Routledge is an imprint of the Taylor & Francis Group, an informa business

Copyright © Peregrine Horden and the contributors, 2000

The authors have asserted their moral right under the Copyright, Designs
and Patents Act, 1988, to be identified as the authors o f this work.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in
any form or by any electronic, mechanical, or other means, now known or hereafter
invented, including photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.

Notice:
Product or corporate names may be trademarks or registered trademarks, and are used
only for identification and explanation without intent to infringe.

British Library Cataloguing in Publication Data

Music as Medicine: The History o f Music Therapy since


Antiquity.
1. Music therapy— History.
I. Horden, Peregrine.
615.8’5154

Library o f Congress Catalog Card Number: 99-68871

ISBN 13: 978-1-84014-299-0 (hbk)


Contents
List o f Figures Vll
List o f Contributors IX
Acknowledgements XI

Introduction
Peregrine Horden
1 Musical Solutions: Past and Present in Music Therapy 4
Peregrine Horden
PART I: ANCIENT LITERATE TRADITIONS
Commentary on Part I, with a Note on China 43
Peregrine Horden
2 Music Therapy in Antiquity 51
Martin West
3 Jewish and Muslim Traditions of Music Therapy 69
Amnon Shiloah
4 Music Therapy: Some Possibilities in the Indian Tradition 84
J. B. Katz
PART II: MEDIEVAL EUROPE
Commentary on Part II, with a Note on the Early Middle Ages 103
Peregrine Horden
5 Music and Medicine in the Thirteenth Century 109
Christopher Page
6 Music Therapy in the Later Middle Ages:
The Case of Hugo van der Goes 120
Peter Murray Jones
PART III: RENAISSANCE AND EARLY MODERN EUROPE
Commentary on Part III, with a Note on Paracelsus 147
Peregrine Horden
7 Marsilio Ficino, the Second Orpheus 154
Angela Voss
vi CONTENTS

8 Music, Melancholy, and Medical Spirits in Early


Modem Thought 173
Penelope Gouk
9 Curing Man and the Cosmos: The Power of Music in
French Renaissance Poetry 195
Noel Heather
10 Musical Treatments for Lovesickness:
The Early Modem Heritage 213
Linda Phyllis Austern
PART IV: TARANTISM
Commentary on Part IV, with a Note on the Origins
o f Tarantism 249
Peregrine Horden
11 Ritualized Illness and Music Therapy: Views of Tarantism
in the Kingdom of Naples 255
David Gentilcore
12 Medical Theories of Tarantism in Eighteenth-Century Spain 273
Pilar León Sanz
13 Tarantism in Contemporary Italy: The Tarantula’s Dance
Reviewed and Revived 293
Karen Lüdlke
dtke
PART V: MODERN CURRENTS
Commentary on Part V, with Notes on Nineteenth-Century
America and on Mesmerism and Theosophy 315
Peregrine Horden
14 Music as Cause and Cure of Illness in Nineteenth-
Century Europe 338
Cheryce Kramer
15 Shamanism, Music, and the Soul Train 353
Keith Howard
16 The Music Therapy Profession in Modem Britain 375
Helen M. Tyler
Index 395
List o f Figures

Frontispiece Aldobrandino of Siena, Livres pour la


sauté garder (Régime du corps), late
thirteenth century. British Library, Sloane
MS 2435, f. 10v. By permission of the
British Library, London.
6.1 Queen Mary Psalter, early fourteenth century.
British Library Royal MS 2.B.VII, f. 51v. By
permission of the British Library, London.
6.2 Bible of Duke Borso d ’Este, mid-fifteenth century.
Biblioteca Estense Universitaria, Modena, MS
V.G.12, f. 119v. By permission of the Ministero per
l Beni e le Attività Culturali.
8.1 The divine monochord, from Robert Fludd,
Utriusque cosmi historia, vol. 1 (1617), p. 90.
Wellcome Trust Medical Photographic Library,
London.
8.2 Man the microcosm, from Robert Fludd, Utriusque
cosmi historia, vol. 2 (1619), p. 275. Wellcome
Trust Medical Photographic Library, London.

9.1 The universe according to Nicolas Lefèvre de la


Boderie, from the opening to ‘Introduction sur
l’harmonie du monde’, in Guy Lefèvre de la
Boderie (trans.), L ’harmonie du monde (Paris,
1578).
10.1 Philip Ayres, Emblemata amatoria (London, 1683),
sigs. E3V-E4. By permission of the Folger
Shakespeare Library.
10.2 Jacob Cats, Proteus ofte Minnebeelden
(Amsterdam, 1627), p. 254. National Gallery of Art
Library, Washington DC.
v iii LIST OF FIGURES

10.3 P. C. Hoofts, Minnezinnebeelden, in Werken


(Amsterdam, 1671), sig. Een. National Gallery of
Art Library, Washington DC. 229

10.4 Jean 1er Le Blond after Pieter van Mol, Omnia


vincit amor nec mucica vincit amorem ([Paris]
n.d.). By permission of the Bibliothèque Nationale
de France, Paris. 233

10.5 Interior lid of Giovanni Francesco Antegnati[a],


pentagonal virginal, 1537. Victoria and Albert
Museum, London, keyboard catalogue no. 2. 236

10.6 Gabriel Metsu, Cello Player. Buckingham Palace,


London. The Royal Collection © Her Majesty The
Queen. 238

11.1 Athanasius Kircher, Magnes sive de arte magnetica


(Rome, 1641), facing p. 874. Wellcome Trust
Photographic Medical Library, London. 258

12.1 Geographical distribution of cases of tarantism


discussed by eighteenth-century Spanish authors. 276

12.2 Representation of the biological cycle of the


tarantula by F. X. Cid, Tarantismo observado en
España (Madrid, 1787), p. 19. By permission of the
Biblioteca Nacional, Madrid. 279

12.3 Music in F. X. Cid, Tarantismo observado en


España (Madrid, 1787). By permission of the
Biblioteca Nacional, Madrid. 285
List o f Contributors

Linda Phyllis Austern, Northwestern University


David Gentilcore, University o f Leicester
Penelope Gouk, Wellcome Unit fo r the History of Medicine,
University o f Manchester
Noel Heather, Royal Holloway College, University o f London
Peregrine Horden, Royal Holloway College, University o f London
Keith Howard, School o f Oriental and African Studies,
University o f London
Peter Murray Jones, K ing’s College, Cambridge
J. B. Katz, Westminster School, London
Cheryce Kramer, University College, London
Pilar León Sanz, University o f Navarra, Pamplona
Karen Lüdtke, Linacre College, Oxford
Christopher Page, Sidney Sussex College, Cambridge
Amnon Shiloah, Hebrew University, Jerusalem
Helen M. Tyler, Nordoff-Robbins Music Therapy Centre, London
Angela Voss, University o f Kent
Martin West, All Souls College, Oxford
Acknowledgements

This volume originated in a conference, which I proposed as long ago


as 1994, and which was finally held at Royal Holloway College,
University of London, in April 1997. I am immensely grateful for the
enthusiasm of the participants, and for the financial support extended
to the conference by the Wellcome Trust, the Society for the Social
History of Medicine, the History Department of Royal Holloway, and
the Warden and Fellows of All Souls College, Oxford. Publication of
the proceedings has been greatly facilitated by a grant from the
bequest of the late Miss Isobel Thornley to the University of London.
At Ashgate, Rachel Lynch and Caroline Cornish were tireless in
support of the volume’s progress. Humaira Erfan Ahmed prepared
camera-ready copy with extraordinary skill and care. Also deserving
the warmest acknowledgement are the patient contributors, both those
who revised their original conference presentations and those who
responded keenly and efficiently to my commissioning of new essays.
For advice and references bearing on the Commentaries and Chapter
1, I am grateful to Gary Ansdell, Margaret Bent, Christopher Cullen,
Robert Darnton, Ruth Davis, Sarah Hibberd, Jane Lightfoot, Grant
Olwage, Derek Parfit, David Parkin, Paul Robertson, Emilie Savage-
Smith, Grant Scott, and Tony Wang, as well as to several contributors.
In particular, the Commentary on Part III could not have been written
without the expert assistance of Ian Maclean and Charles Webster.
Music the fiercest grief can calm
And fate’s severest rage disarm;
Music can soften pain to ease,
And make despair and madness please:
Our joys below it can improve
And antedate the bliss above.

Pope, Ode on St Cecilia's Day, 1708


Introduction

Peregrine Horden

At various times and in various cultures over the past two and a half
millennia - and probably still further back in time - music has been
medicine. Performing or listening to music have variously been
thought to achieve something more than arousal or entertainment;
something different from, though often related to, enhanced spiritual
awareness; something that beneficially outlasts the performance - that
maintains or restores the health of mind and, even, body.
How exactly has this therapeutic power of music been conceptual­
ized and explained? Who has done that - why, and in what social or
intellectual setting? Who has actually used music as or in therapy?
What were their techniques and purposes? How important has music
therapy been within the broad medical and musical culture of any
given place and time - central or marginal, occasional or enduring?
These historical questions and others arising from them are the
focus of the present volume. They are addressed (perhaps for the first
time in English) in a systematic, scholarly, and sceptical manner. The
volume’s aim is to provide a history of music therapy since antiquity
that is as comprehensive as the available space, expertise and evi­
dence permit. The primary focus is the European intellectual and
medical tradition, from its classical roots to the development of a
music therapy profession in the decades since the Second World War.
At least some comment is ventured on every major period in between,
and, specifically, on every century since the end of the Middle Ages.
In addition, there are chapters on the Judaic and Islamic traditions, so
important to medieval European developments; on India; and on
South-East Asia. There is thus broad geographical scope as well as
chronological depth with respect to one area. Editorial commentaries
on the five parts into which the book is divided outline the themes of
each chapter, some connections between chapters, and topics that the
ideal volume might have embraced.
2 PEREGRINE HORDEN

With such broad coverage, questions of definition obviously arise.


What is to count as music, what as medicine? How should the
relationship between theory and practice be understood? On what
yardstick can musical cures be measured? No editorial stipulation will
be made here, other than that the term ‘music therapy’ is to be under­
stood in a very large sense, as a convenient label, rather than in the
narrower terms to which modem professionals might adhere. Some
aspects of the problem of definition are touched on in Chapter 1. But
ultimately it must be for each contributor to wrestle with the task of
refining our notions of music and medicine so that they can be sensi­
tively applied to possibly very alien therapeutic cultures. A compara­
tive volume such as this must steer an uneasy course between
Enlightenment universalism and Romantic relativism: between crassly
imposing our own categories on the past and merely rehearsing, with­
out analysis, whatever categories arise from the evidence. Indigenous
conceptions of health and healing, of music and cosmology, are part
o f the problem, not the solution.
In a field of such difficulty, comparatively little explored, all find­
ings are necessarily provisional. The aim is to synthesize what can
already be known, to search neglected sources, to offer some original
perspectives, and to suggest where more research may be fruitful. We
can do no more than establish the contours of the subject. Further
enquiry and, in particular, more sophisticated exploration of the
changing cultural environment of music therapy, must be delegated to
other volumes.1
It is hoped that the present collection of essays will interest audi­
ences as diverse as its contents. Three of the contributors are anthro­
pologists, two are musicologists, one is a practising music therapist;
the majority are historians. Most, therefore, are investigating the past,
sometimes the very distant past, with no more thought for the present
than is inevitable in historiography. They write without reference to
modem professional practice; their history is not teleological. That is,
they are not trying to find the historical roots of modem music ther­
apy. Indeed, we shall see that the force of the classical tradition,
within which much of their subject matter must be located, means that
they are more often looking backwards than forwards. Something
similar is even true of the two ethnographic contributions below. The
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