Between Creativity and Norm-Making: Tensions in the Early by Sigrid Müller

By Sigrid Müller

This quantity bargains with contrasting advancements within the interval among 1400-1550. it truly is person who is characterised by way of a look for larger own liberty and extra possibilities for artistic expression, at the one hand, and a quest to safe balance via constructing binding norms, at the different.

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Between Creativity and Norm-Making: Tensions in the Early Modern Era

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Torrance, “1469–1969. La philosophie et la théologie de Jean Mair ou Major, de Haddington (1469–1550)”, Archives de philosophie 32 (1969), 531–547. 55 Aristotelis Ethica in opus de moribus ad Nicomachum filium, ab Ioanne Argyropylo Bizantio traductum et ab Ioanne Maiore Hadingtonano elucidatum, Paris 1530, fol. 101 r: Nunc autem compendio scribens dico consultationem ad prudentiam pertinere tamquam potentialem et adminiculativam, sagacitatemque sollertiam ac scientiam reipsa esse prudentias, sunt enim recta iudicia agibilium.

The equation of such singers with birds has been explored recently in Elizabeth Eva Leach, Sung Birds: Music, Nature, and Poetry in the Later Middle Ages (Cornell, 2007), chapter 2: “Birdsong and Human Singing”, 55–106. 13 Aristotle, Nicomachean Ethics, 1140a10–15 36 christian thomas leitmeir d­ isciples to act morally, guided by theoretical insights. Although the exact relation between these two disciplines remains to be determined,14 one may provisionally work from the assumption that it is characterized by subalternation: Moral philosophy strives for the definition of principles, which guarantee the quality of human behavior in general, while musica practica—topically defined as “ars recte et bene modulandi”15—establishes principles for a specific field of human activity: the evaluation and production of ‘valid’ (recte) or ‘beautiful’ (bene) music.

17 To put it bluntly: a singer, who manages to send listeners into mystical ecstasy, may be doomed, if he relishes self-complacently in the impressive effect of his vocal skills instead of singing, gratefully and devoutly, for the greater glory of God. The solution to these questions, which required the definition of general guidelines as well as a critical reflection of intentionality and a host of ethical issues, could not be accomplished within the field of musica practica alone, but only in cooperation with, or reliance on, moral philosophy and theology.

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