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内容紹介
In Girolamo Mei: A Belated Humanist and Premature Aesthetician, Tsugami Eske discusses Mei, a sixteenth-century Italian scholar, as an independent thinker. While previous studies have generally treated him in connection with the birth of opera, this book examines his writings concerning the ancient theory of musical modality and the performance style of Greek tragedy in both their content and the historical perspective. Based also on analyses of Mei’s epigram De Phyllide and classification of the arts, Tsugami reveals him to have been inclined to declining humanism as well as emerging aesthetics.
目次
Contents
Preface
Part I THE ANCIENT THEORY OF THE MODES AND MEI'S IDEAL OF MUSIC
Chapter 1 Mei's Interpretation of the Ptolemaic Tonos System
1.1. Ptolemy's system of the tonoi
1.2. Mei's interpretation
Chapter 2 From the Theory of Music to the Aesthetics of Music
2.1. Mei's view of ancient music
2.2. Music's autonomous power of expressing emotions
Chapter 3 Music's Expressivity and Criticism of Polyphony
3.1. Three arguments against polyphony
3.2. Mei's thought compared with his contemporaries
3.3. Music's expressivity and drama
Chapter 4 Introducing Alypius' System of Musical Notation
4.1. Alypius and Mei
4.2. Agreements and disagreements
Part II THE PERFORMANCE OF ANCIENT TRAGEDY, AS RECONSTRUCTED FROM THE ARISTOTELIAN POETICS
Chapter 5 The Interpretations of the Poetics before Mei
5.1. The current standard interpretation of the means of poetry
5.2. The manuscript transmission of the Poetics
5.3. Vettori's interpretation
Chapter 6 Mei's Interpretation of the Poetics: Ancient Tragedy as a Wholly Musical Drama
6.1. The theoretical foundation found in Mei's letters to Vettori
6.2. The picture of tragedy provided in On the Modes
6.3. What Mei does and does not owe to Vettori
6.4. The transmission of Mei's picture of tragedy
Chapter 7 Mei and the Recitative Theory of L'Euridice
7.1. Peri's theory of the recitative
7.2. Palisca's view
7.3. Mei and Peri in historical perspective
7.4. Boethius the mediator
PART III THE AESTHETIC INTERPRETATION OF ARISTOTLE'S THEORY
Chapter 8 From the Means of Poetry to a System of the Arts
8.1. The modern concept of “art”
8.2. Mei's Classification of the arts
8.3. Mei's view of the work of art
8.4. Mei in the history of the concept
Chapter 9 Mei's Interpretation of Tragic Katharsis as the Culmination of his Aesthetic Thought
9.1. Mei's mechanistic interpretation of katharsis
9.2. Dancing and katharsis in the Poetics
9.3. Mei's interpretation in historical perspective
9.4. The aesthetics of katharsis
PART IV MEI AND HUMANISM
Chapter 10 Methodology
10.1. Mei's methods of research
10.2. Textual criticism
10.3. The Latin prose style of On the Modes
Chapter 11 The Epigram De Phyllide
11.1. Cod. Vat. Barb. lat. 1819, fol. 93
11.2. The Antigone excerpt
11.3. The form and thought of De Phyllide
Conclusion A Belated Humanist and Premature Aesthetician
References
Manuscripts
Printed books and articles
Indices
Index of names and subjects
Index of Italian words
Index of Latin words
Index of Greek words
Index of quoted passages
Preface
Part I THE ANCIENT THEORY OF THE MODES AND MEI'S IDEAL OF MUSIC
Chapter 1 Mei's Interpretation of the Ptolemaic Tonos System
1.1. Ptolemy's system of the tonoi
1.2. Mei's interpretation
Chapter 2 From the Theory of Music to the Aesthetics of Music
2.1. Mei's view of ancient music
2.2. Music's autonomous power of expressing emotions
Chapter 3 Music's Expressivity and Criticism of Polyphony
3.1. Three arguments against polyphony
3.2. Mei's thought compared with his contemporaries
3.3. Music's expressivity and drama
Chapter 4 Introducing Alypius' System of Musical Notation
4.1. Alypius and Mei
4.2. Agreements and disagreements
Part II THE PERFORMANCE OF ANCIENT TRAGEDY, AS RECONSTRUCTED FROM THE ARISTOTELIAN POETICS
Chapter 5 The Interpretations of the Poetics before Mei
5.1. The current standard interpretation of the means of poetry
5.2. The manuscript transmission of the Poetics
5.3. Vettori's interpretation
Chapter 6 Mei's Interpretation of the Poetics: Ancient Tragedy as a Wholly Musical Drama
6.1. The theoretical foundation found in Mei's letters to Vettori
6.2. The picture of tragedy provided in On the Modes
6.3. What Mei does and does not owe to Vettori
6.4. The transmission of Mei's picture of tragedy
Chapter 7 Mei and the Recitative Theory of L'Euridice
7.1. Peri's theory of the recitative
7.2. Palisca's view
7.3. Mei and Peri in historical perspective
7.4. Boethius the mediator
PART III THE AESTHETIC INTERPRETATION OF ARISTOTLE'S THEORY
Chapter 8 From the Means of Poetry to a System of the Arts
8.1. The modern concept of “art”
8.2. Mei's Classification of the arts
8.3. Mei's view of the work of art
8.4. Mei in the history of the concept
Chapter 9 Mei's Interpretation of Tragic Katharsis as the Culmination of his Aesthetic Thought
9.1. Mei's mechanistic interpretation of katharsis
9.2. Dancing and katharsis in the Poetics
9.3. Mei's interpretation in historical perspective
9.4. The aesthetics of katharsis
PART IV MEI AND HUMANISM
Chapter 10 Methodology
10.1. Mei's methods of research
10.2. Textual criticism
10.3. The Latin prose style of On the Modes
Chapter 11 The Epigram De Phyllide
11.1. Cod. Vat. Barb. lat. 1819, fol. 93
11.2. The Antigone excerpt
11.3. The form and thought of De Phyllide
Conclusion A Belated Humanist and Premature Aesthetician
References
Manuscripts
Printed books and articles
Indices
Index of names and subjects
Index of Italian words
Index of Latin words
Index of Greek words
Index of quoted passages
著者略歴
津上 英輔（ツガミ エイスケ tsugami eisuke）
津上 英輔（つがみ えいすけ）
TSUGAMI Eske, professor of aesthetics at Seijo University, Tokyo, was educated at Tokyo and Freiburg Universities. He has published a series of books and articles on everyday aesthetics and on Girolamo Mei, including a critical edition of his De modis (On the Modes)(1991), of which Tsugami is preparing an English translation.
タイトルヨミ
カナ：ジローラモメイ
ローマ字：jirooramomei
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