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Ever since the popular treatise by Boethius of three categories of music: musica mundana, discernable in the rotation of the planets and in the diversity of seasons; musica humana, which concerns the harmonies of the human body with the human psyche, and musica instrumentalis, produced by musical instruments, until modernity, the encounter of sound with ethos has been marked by waning strength and decreasing frequency. Over the centuries, musicology has increasingly rolled back this scope of the idea to such an extent that now by music we should basically understand the last one, i.e. the sounding music. The book is an attempt to justify human music (humana) as an indispensable now area of knowledge, allowing for finding new solutions to four groups of issues: of the way, which music itself opens to man to speak of music, which remains alive until the utterance, or of philosophy of music (Part 1); of music and expression of what musical allegory means (Part 2); why sound and ethos are notions of consubstantiality (Part 3) and how a musical theology differs from theology of music in general (Part 4).
Authors: 
ISBN: 978-954-8594-27-1
Year: 2011
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