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BOOK REVIEWS/79 âlesbian-likeâ experience. If Chaucer assures us his Prioress is all âconscience and tendre herte,â the tale she tells reveals how her devotion relies on the musical torture of liturgical pedagogy. These are the terms under which Holsinger frames his arguments; they are the terms under which I think they should be judged. Holsinger divides Music, Body, and Desire into four parts. In the first section he demonstrates that the musical legacy antiquity bequeathed to the earliest doctors of the Church was not limited to platonic harmonics of number and ratio. Stoic naturalism and Roman oratory acknowledged the fundamental importance of the performing body, and the Greek and Latin fathers imported precepts from both traditions when they incorporated musical materialism into their biblical hermeneutics. By distinguishing between the body and the flesh, Clement of Alexandria, for example, redeemed the dust and clay that houses the imperishable soul by calling attention not only to its concordant composition but also to the concinnity of the melodies it emits in martyrdom. In the West, Augustine would rescore in different keys a similar collision between the anxieties and pleasures of song and flesh; while he continually located musicâs merit in its
Comparative Literature – Duke University Press
Published: Jan 1, 2003
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