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Music and the Nerves, 1700–1900 Music and the Nerves, 1700–1900 Edited by James Kennaway Music and the Nerves, 1700–1900 Also by James Kennaway BAD VIBRATIONS: The History of the Idea of Music as a Cause of Disease (2012) Music and the Nerves, 1700–1900 Edited by James Kennaway Research Associate, Newcastle University, UK Editorial Matter, Selection and Introduction © James Kennaway 2014 Individual chapters © Respective authors 2014 Softcover reprint of the hardcover 1st edition 2014 978-1-137-33950-8 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2014 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-46447-0 ISBN 978-1-137-33951-5 (eBook) DOI 10.1057/9781137339515 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. Contents List of Illustrations vii Acknowledgements viii Notes on Contributors ix 1 Introduction: The Long History of Neurology and Music 1 James Kennaway 2 (Nervously) Grappling with (Musical) ‘Pictures in the Mind’: A Personal Account 18 George Rousseau 3 Music and the Nervous System in Eighteenth-Century British Medical Thought 44 Penelope Gouk 4 Le corps sonore: Music and the Auditory Body in France 1780–1830 72 Ingrid J. Sykes 5 Music Therapy in Eighteenth-Century Spain: Perspectives and Critiques 98 Pilar León-Sanz 6 ‘Subsiding Passions’ and the Polite Arts of Healing: Music and Images of the Medical Profession in ‘Moderate Enlightenment’ 118 Aris Sarafianos 7 Music as a Tool in the Development of Nineteenth-Century Neurology 152 Amy B. Graziano and Julene K. Johnson 8 Origin Stories of Listening, Melody and Survival at the End of the Nineteenth Century 170 Alexandra Hui v vi Contents 9 Physical Distortion, Emotion and Subjectivity: Musical Virtuosity and Body Anxiety 191 Wiebke Thormählen Works Cited 216 Index 234 Illustrations 2.1 Title page to Ludovicus Odier’s Epistola Physiologica (1770) 27 2.2 Portrait of Johannes Müller 31 4.1 Jean-François Salomon, Brevet d’invention de 5 ans, instrument de musique, appelé par l’auteur Harpo-Lyre (1829), Cote du dossier: 1BA3120 86 5.1 M. Martínez Anatomía completa del hombre (1764) 112 5.2 F. X. Cid, Tarantismo observado en España (1787) 113 6.1 Portrait of Christopher Nugent M.D. (1715–1775) by James Barry (1772) 132 6.2 Raphael, St Cecilia Altarpiece (1513–1514) 133 7.1 Knoblauch’s diagrammatic model of music (1888) 161 8.1 Chords for demonstration of accommodation phenomenon 175 8.2 Theme from Andante movement of Beethoven’s Symphony in C Minor. Kulke, Über die Umbildung der Melodie, 4 179 8.3 Kulke’s example of the Bauerntanz motive similar to theme of Andante movement of Beethoven’s Symphony in C Minor. Eduard Kulke, Über die Umbildung der Melodie, 7 179 9.1 Caricature of Franz Liszt 194 9.2 Portrait of Pietro Locatelli 195 9.3 Portrait of Gaetano Pugnani 197 9.4 Portrait of Franz Liszt by Umgmann 198 vii Acknowledgements A lot of work has gone into this volume and I would like to express my gratitude to all those who have made it possible. In particular I would like to thank the Wellcome Trust, whose funding allowed me to devote time to this project. Likewise I am grateful to Dr Sebastian Pranghofer, Professor Holger Maehle and Dr Lutz Sauerteig at Durham University, Professor Mark Harrison and Professor Pietro Corsi at the Wellcome Unit for the History of Medicine at Oxford University and my colleagues at Newcastle University for their support over the past few years. The image on the cover is included by kind permission of Wellcome Images. Thanks are also due to the editors at Palgrave Macmillan and the anonymous readers who did much to whip the volume into shape. Finally, I would like to thank Oliver Sacks for his generous encouragement of work on music and the nervous system and his suggestions for further avenues of investigation. James Kennaway Newcastle University viii Contributors Penelope Gouk is an Honorary Research Fellow at the University of Manchester, where she was previously Senior Lecturer in the Department of History and funded by the Wellcome Trust. Before this she held a series of research fellowships at the University of Oxford, and was Director of the Achievement Project (1990–1995), an interdisciplinary enquiry into eco- nomic growth and technological innovation since 1500. Her most recent research has focused on early modern medical and scientific explanations for music’s emotional effects and their relationship to musical practice, a project which has also included an investigation into musical healing in both Western and non-Western societies. Her publications include Music, Sci- ence and Natural Magic in Seventeenth Century England (1999) and the edited volumes The Second Sense: Hearing and Musical Judgement (1992); Musical Heal- ing in Cultural Contexts (2000) and Representing Emotions: New Connections in the Histories of Art, Music and Medicine (2005). Amy B. Graziano is Associate Professor and Chair of the Conservatory of Music at Chapman University. She is also Director of Music History for the Conservatory. She received her PhD in musicology (1996) and MM (1990) from the University of Texas at Austin and her BA (music and psychology, 1985) from Vassar College. She also completed a two-year Post- Doctoral Fellowship in Music Cognition at the University of California, Irvine. At Chapman she teaches introductory and advanced courses in music history, The Psychology of Music, and Film Music. Her research focuses on the history of music psychology, in particular the relationship between music and neurology in the nineteenth century. With colleague Julene Johnson, she has published articles on the history of music and brain studies in top music cognition, history of neuroscience and cognitive science journals, and contributed several chapters to books about music and the brain. She has published on the general history of music psychology and has co-edited a double issue of Psychomusicology (History of Music Psychology in Autobiogra- phy). She has received several Chapman University awards for excellence in teaching and scholarship. Alexandra Hui is Assistant Professor of History at Mississippi State Univer- sity, where she works on the history of physics, medicine and the human sciences. She completed her dissertation at UCLA in 2008 and was cho- sen for the European Society for the History of Human Sciences 2010 Early Career Award. She has also been awarded a DAAD research grant to work at ix x Notes on Contributors the Max Planck Institute for the History of Science in Berlin and a Dibner Library Resident Scholarship to work at the Smithsonian in Washington DC. Her publications include ‘Dead Ears and Dead Ends? Ernst Mach and Max Planck’s Studies of Accommodation in Hearing as a Basis for the Theory of Music’ in Osiris, ‘ “The Bias of Music-Infected Consciousness”: The Aesthetics of Listening in the Laboratory and on the City Streets of fin-de-siècle Berlin and Vienna’ in Journal for the History of the Behavioral Sciences and ‘Instru- ments of Music, Instruments of Science: Hermann von Helmholtz’s Sound Sensations Studies, his Classicism, and his Beethoven Sonata’ in Annals of Science. Julene K. Johnson is Associate Professor of Cognitive Neuroscience at the University of California, San Francisco’s (UCSF) Institute for Health and Aging. She also has appointments in the UCSF Department of Neurology and Department of Social and Behavioral Sciences. She has a bachelor’s degree in music and a PhD in cognitive neuroscience. Trained as a flutist, she has a longstanding interest in music and the brain. In 2010, she was a Fulbright Scholar in Jyväskylä, Finland where she studied how participa- tion in community music promotes quality of life for older adults. With her colleague Amy Graziano, she studies nineteenth-century representa- tions of music in neurology and psychology literature. Together, they have published several manuscripts highlighting the contributions of several pio- neering scholars who used music to better understand brain function in the nineteenth century, including August Knoblauch, Richard Wallaschek, John Hughlings Jackson and Hermann Oppenheim. They have published papers in top music cognition, history of neuroscience and cognitive sci- ence journals, and contributed several chapters to books about music and the brain. Another area of research focuses on understanding music cogni- tion in aging and neurodegenerative diseases, such as Alzheimer disease and frontotemporal dementia.
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