- The Oxford Handbook of the New Cultural History of Music
- Gender, Performativity, and Allusion in Medieval Services for the Consecration of Virgins
- Music, Violence, and the Stakes of Listening
- Music and Pain
- “The Road into the Open”: From Narrative Closure to the Endless Performance of Subjectivity in Mahler and Freud at the Turn of the Century
- Understanding Schoenberg as Christ
- The Strange Landscape of Middles
- The Genre of National Opera in a European Comparative Perspective
- Cosmopolitan, National, and Regional Identities in Eighteenth-Century European Musical Life
- Mendelssohn on the Road: Music, Travel, and the Anglo-German Symbiosis
- “Shooting the Keys”: Musical Horseplay and High Culture
- Yvette Guilbert and the Revaluation of the <i>Chanson Populaire</i> and <i>Chanson Ancienne</i> during the Third Republic, 1889–1914
- Remembrance of Jazz Past: Sidney Bechet in France
- An Evening at the Opera in Seventeenth-Century Venice
- Josquin des Prez, Renaissance Historiography, and the Cultures of Print
- From “the Voice of the Maréchal” to Musique Concrète: Pierre Schaeffer and the Case for Cultural History
- A Matter of Style: State Sacrificial Music and Cultural-Political Discourse in Southern Song China (1127–1279)
- <i>Ernani</i> Hats: Italian Opera as a Repertoire of Political Symbols during the Risorgimento
- Modalities of National Identity: Sibelius Builds a First Symphony
- Beethoven, Napoleon, and Political Romanticism
- Translating Herder Translating: Cultural Translation and the Making of Modernity
- The Eye of the Needle: Music as History after the Age of Recording
- Afterword: Whose Culture? Whose History? Whose Music?
Abstract and Keywords
This article looks at the connection between music and pain. It shows that the art of producing sound was closely linked with magic, and reveals that pain was believed to be inflicted by demons. Music was the only way these demons could be pacified, and the relief that music offered was more indirect. The article also examines modern music therapy, which directly turns to the person suffering the pain.
Andreas Dorschel is head of the Institute of Music Aesthetics at the University of Arts Graz (Austria). He was visiting professor at Emory University (1995) and at Stanford University (2006). His most recent publication is a history of the idea of metamorphosis: Verwandlung: Mythologische Ansichten, technologische Absichten (Neue Studien zur Philosophie, ed. Konrad Cramer, Jürgen Stolzenberg, and Reiner Wiehl, vol. 22, 2009).
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