Kümmel, Werner Friedrich (Author)
Medicina nei Secoli - Arte e Scienza
Volume: 32
Issue: 1
Pages: 263-294
The concept of the four human temperament originating within the sphere of Ancient Greek medicine also provided an inspiration for artistic activity: in the 15th century, this theme was expressed in the visual arts and in the 18th century also entered the realm of music. Initially, it was only the sanguine and the melancholic which were represented in music (Handel, C. Ph. E. Bach), but from around 1780, all four temperaments were present (Weber, Johann Strauss I). Within symphonic dimensions (Nielsen 1902), formal problems developed (monotony of individual movements and lack of unity in the entire composition). For this reason, Hindemith (1948) selected the form of a theme with four variations for his contribution. Numerous subsequent compositions, however, primarily adhered to the traditional four-movement form. Although Simon Sechter's early setting of the four temperaments for string quartet (around 1825), in which the four temperaments were allotted to the four instruments thereby sounding simultaneously, was described as a musical joke, it can however also be interpreted as an objection to the rigid divisions in the doctrine of the temperaments.
...MoreSimilar Citations
Book
Pier Roberto Dal Monte;
(2024)
Non solo medici: Brevi istantanee tra arte, storia e attualità
Book
Kennaway, James Gordon;
(2014)
Music and the Nerves, 1700-1900
Article
Biagio Scuderi;
(2019)
Vincenzo Bellini's "La Sonnambula": A Clinical Case on Stage
Article
Maria Innocenza Runco;
(2019)
Hysteria in Music and on the Stage
Book
Campen, Crétien van;
(2008)
The Hidden Sense: Synesthesia in Art and Science
Book
Giuseppe Olmi;
Giuseppe Papagno;
(2006)
La natura e il corpo. Studi in memoria di Attilio Zanca
Chapter
Maria Carla Garbarino;
Valentina Cani;
Lidia Falomo Bernarduzzi;
Maria Gabriella Cusella De Angelis;
Paolo Mazzarello;
(2019)
The Wax Models of the University History Museum: a Composite Heritage Between Past and Present
Chapter
Francesca Monza;
Maria Gabriella Cusella;
Paolo Mazzarello;
(2019)
The Florentine Anatomical Wax Models in the Collection of Antonio Scarpa
Chapter
Alessandro Riva;
Francesco Loy;
(2019)
The Collection of Clemente Susini’s Anatomical Waxes in Cagliari: Its Historical, Scientific, Teaching and Artistic Value
Chapter
Moira Ambrosi;
Giuseppe Pieraccini;
Giampaolo Ermini;
Monica Galeotti;
Claudia Corti;
(2019)
The Anatomical Wax Models of the La Specola Museum: Analysis of the Degradation Process
Book
Giulia Vannoni;
(2023)
Il canto della scienza. Come il teatro musicale interpreta Galileo, Einstein e gli altri
Article
Federico Gon;
(2019)
Physiology and Pathology in Mozart-Da Ponte's Operas
Article
Hui, Alexandra;
Kursell, Julia;
Jackson, Myles W.;
(2013)
Music, Sound, and the Laboratory from 1750 to 1980
Article
Welsh, Caroline;
(2008)
Nerven-Saiten-Stimmung. Zum Wandel einer Denkfigur zwischen Musik und Wissenschaft 1750--1850
Article
Pech, Anja;
Hou, Craig;
Johnson, Julene K.;
(2012)
Hermann Oppenheim's Observations about Music in Aphasia
Book
Zeno Schmid;
(2024)
Vertonungen des Hippokratischen Eides: Kompositionen von Xenakis und Kagel am Schnittpunkt von Musik und Medizin
Book
James Q. Davies;
Ellen Lockhart;
(2017)
Sound Knowledge: Music and Science in London, 1789-1851
Article
Larson, Barbara;
(2004)
Odilon Redon and the Pasteurian Revolution: Health, Illness, and le monde invisible
Chapter
Michael L. Geiges;
Sabina Carraro;
(2019)
The Museum of Wax Moulages in Zurich
Article
Giuseppe Armocida;
Ilaria Gorini;
(2017)
The dialogue between the worlds of art and science
Be the first to comment!