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Reviews of Books Music & Letters, Vol. 86 No. 1, © Oxford University Press 2005; all rights reserved REVIEWS OF BOOKS Music, Body, and Desire in Medieval Culture: Hildegard in der Neuzeit (Cologne and Weimar, 2003). Both of Bingen to Chaucer. By Bruce W. Holsinger. attempt to show medieval music—whether in pp. xviii + 472. Figurae: Reading Medieval sound or as a concept—as the result of complex Culture. (Stanford University Press, Stanford, strategies of interpretation and evaluation. 2001, $47.50/$17.95. ISBN 0847-3201-9/ Leech-Wilkinson’s book, through the analysis of -4058-5.) changing conceptions of medieval music as music, shows hermetic scholarship at work. Mine traces History is no less problematic and complex than back to the eighteenth century the sources and other objects of study such as nature, culture, or shapes of ideas that modernity has evolved society. In general, we never say or write pre- around and about medieval music, and excavates cisely what we would wish to. From data and concepts with extremely long duration, ranging facts—derived from Latin verbs revealing that from definitions of ‘the Gothic’ in architecture they are ‘given’ and ‘made’—discourse leads to and music, across artificial Minnesang in song frames of thought, to categories, with which we and on stage in the nineteenth century, to the aim to define them. The coherence we hope to founding fathers of musicology around 1900 in see realized in any flowing discourse is constantly Germany and France and their strategies of irritated, owing on the one hand to the sketchi- separation or adaptation of their subject, reaching ness and deficiency of the data, on the other into twentieth-century composition and reception, hand to the disparity of language and meaning. the whole process resulting in a music more No wonder that Clio, the muse of history, is invented than discovered. All three books are a poet. symptomatic of the scope and status of medieval Bruce W. Holsinger has, since the 1990s, lent studies in the new century. Nevertheless they an especially attentive ear to history, focusing on have different aims. Two of them are much the interpretation and re-examination of medieval closer in that they deconstruct prevalent concepts thought, especially with regard to medieval art and undermine authenticity as the phantom of and music. His study ‘The Flesh of the Voice: historic imagination, showing medieval studies to Embodiment and the Homoerotics of Devotion be a special form of medievalism; but Holsinger’s in the Music of Hildegard of Bingen (1098– book moves back in time methodologically and 1179)’ (Signs, 19 (1993), 92–125) was followed by tells the story as it really was—or, to borrow from his dissertation ‘Music, Body and Desire in the slogan of the Society for Creative Anachronism, Medieval Culture, 1150–1400: Hildegard of as it should have been. Bingen to Chaucer’ (Columbia University, In its focus on the flesh, carnality, and the 1996). In the same year appeared ‘Sodomy and body, Holsinger’s monograph mirrors the desires Resurrection: The Homoerotic Subject of the and interests of a postmodern age in medieval Divine Comedy’ (in Louise Fradenburg and souls. Even before diving into the book in more Carla Freccero (eds.), Premodern Sexualities (New detail it is clear that the topic is really reception York, 1996), 243–74). Three years after that aesthetics. It is perhaps appropriate to recall the ‘Langland’s Musical Reader: Liturgy, Law, and famous medievalist Robert Guiette who in his the Constraints of Performance’ was published in Questions de littérature, published between 1960 and the important Studies in the Age of Chaucer, 21 1972, criticized orthodox medieval studies and (1999), 99–141. And now we have Music, Body, fought for the alterity of medieval literature. and Desire in substantially revised book form. Alterity meant for Guiette historic distance (not Two lengthy studies appeared shortly after the Romantic distance of Novalis) and otherness Holsinger’s book, prepared over the same decade: in this ‘politically, socially and culturally Daniel Leech-Wilkinson’s The Modern Invention of strangely and exemplary closed epoch’. It is no Medieval Music: Scholarship, Ideology, Performance coincidence that Guiette, an extraordinary (Cambridge, 2002) and my study in the history scholar and philologist, could combine aesthetic of concepts of medieval music Ein Traum vom theory and poetic practice in his texts as well as Mittelalter: Die Wiederentdeckung mittelalterlicher Musik literary criticism, text editing, and theories on the 100 history of reading. For medieval studies, his of Notre Dame resonate with emotional devo- concepts are invaluable especially in regard to tion to his subject and use analogies to describe the poetry of trouvères and troubadours, but it is two-voice chant and alleluias through metaphors also evident that his concepts were made possible charged with symbolism. The art historians Otto by two intertwined facts: the basic experience of von Simson and Erwin Panofsky with their famous anti-Romantic poetry since Verlaine and Mallarmé studies not only helped to guide thought towards as well as Guiette’s own interest in writing a hieratic, symbolic, and miraculously strange poetry—he had himself belonged in the 1920s to Middle Ages, their monumental work helped at the literary avant-garde in Paris, along with the same time a disillusioned post-war period in Blaise Cendrars, Fernand Léger, and André Europe to build up the shimmering model of a Lhote. The aesthetic stimulus of the formal meaningful, sacred past which had sunk into poetry of the Middle Ages, along with the longing oblivion. So what one should be interested in first to experience it directly, through ‘the brushwood of all in Holsinger’s book is what kind of image of of philology’, emerges as the fruit of a special medieval culture he paints, what the basis of this convergence in reception history. image is, and what the scope of his writing—his Reading Holsinger’s lengthy and imaginative audience—might be. study we need to keep in mind that we belong in The book is arranged in four main parts (plus an age where body toning, sexual desires, and introduction) which themselves are subdivided surface are issues that many societies worldwide— again into two chapters, an arrangement that especially those in the West—focus upon, and incidentally copies the construction of one of the also that within the field of recent musicology most important books of theoretical writing attempts have been made to deconstruct models from the twentieth century, Michel Foucault’s and structure of history writing to pave the way The Order of Things, published in 1966 and a best- for a fresh outlook. These simultaneities seem to seller ever since. Foucault’s was a courageous mark a special convergence in the historiography but also a wise and modest book, which predicts of medieval culture. We find ourselves, at the that man, a subject formed by discourse as a res- beginning of the twenty-first century, about a ult of the arrangement of knowledge, will be hundred years away from the founding of medieval erased ‘like a face drawn in sand at the edge of studies in music—a reasonable distance from the sea’. which to evaluate the ‘work of the fathers’ (unfor- After an introduction Holsinger moves into tunately no mothers at that time). Are we going the subject of musical embodiments in Christian to follow their legacy of constructing new models Late Antiquity, to be followed by the chapter of thought or are we going to spend some time that will be most interesting and provocative for evaluating the set of dispositions forming the musicologists, ‘Liturgies of Desire’. In Part III he paradigm ‘medieval music’? The connection bet- analyses ‘Sounds of Suffering’ and speaks about ween constructivist and deconstructive, along the musical body in pain, as well as musical with the emergence of queer studies and new violence and the ideology of song, focusing on musicology in the last decades of the twentieth intersections of musicality and pain—as well as on century—all fresh and welcome approaches to the ambiguity of musical pleasure—and of pleasure subjects on which time has snowed not only and musical pain. This chapter concludes with white hairs but hardened methodologies, concepts, remarks on Hieronymus Bosch’s Garden of Earthly and biases as well—is interesting, to say the least. Delights and its depiction of torture, giving insights But then who would wish the fathers to return but also displaying a fascination with the medieval after a hundred years of medieval studies, only morbid—as the cover of the book stresses. In Part with different coats and hats? IV, ‘Resoundings’, Holsinger analyses the Orphic In focusing now on Holsinger’s book and in myth and explores its musical embodiment attempting to read it properly one cannot help through time, delving into its reception history but be reminded of crucial moments in medieval from antiquity to the present. He closes his study studies within the twentieth century. While many with an epilogue, arguing for a musicology of struggled at the beginning with medieval literary empathy—a quality that one should ask for in all and musical sources, others used them to paint kinds of scholarship. an image of medieval culture in considerable Holsinger offers his monograph as an attempt detail. Johan Huizinga’s The Waning of the Middle to irritate generally accepted notions of medieval Ages was published in 1919 (in German in 1924) musical aesthetics as locating ‘the beauty of to shape scholars’ images of medieval culture, music and musical experience in number’; in describing the medieval world as a time full of other words, the interplay of numeric ratios imagery, a world of flesh and bone—yet sad and abstracted from sensual considerations (p.
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