Gesund oder krank?

Anz, Thomas

doi:10.1007/978-3-476-04410-5

Cited by 35 publications

(2 citation statements)

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“…As Thomas Anz has observed, by the late eighteenth century “[t]he health movement … went as far as to regard immoral behavior an illness. Illness was interpreted morally and immorality was pathologized.” 46 This reflected the development of what Foucault called biopolitics, the increasing power of medicine in society, as well as the growing professionalization and prestige of medicine.…”

Section: Electric Music As a Pathological Nervous Stimulantmentioning

confidence: 99%

Stimulating Music: The Pleasures and Dangers of “Electric Music,” 1750–1900

Kennaway¹

2011

con

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Far from being a purely modern idea, the notion of “electric music” was already common in the eighteenth and nineteenth centuries. The shift in thinking about music from cosmic harmony to nervous stimulation made metaphors and speculative theories relating music and electricity irresistible. This essay considers the development of the idea of electric music, looking at its associations with a sexual “body electric.” It will then examine how this conception of music went from being the subject of sympathy to becoming part of a medical critique of music as a dangerous stimulant, with echoes in music criticism and beyond.

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Section: Electric Music As a Pathological Nervous Stimulantmentioning

confidence: 99%

Stimulating Music: The Pleasures and Dangers of “Electric Music,” 1750–1900

Kennaway¹

2011

con

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“…As Thomas Anz has observed, by the late eighteenth century, “The health movement … went as far as to regard immoral behavior as an illness. Illness was interpreted morally and immorality was pathologized.” 97…”

Section: Nervous Music Sexuality Gender and The Bodymentioning

confidence: 99%

From Sensibility to Pathology: The Origins of the Idea of Nervous Music around 1800

Kennaway¹

2010

Journal of the History of Medicine and Allied Sciences

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Healing powers have been ascribed to music at least since David's lyre, but a systematic discourse of pathological music emerged only at the end of the eighteenth century. At that time, concerns about the moral threat posed by music were partly replaced by the idea that it could over-stimulate a vulnerable nervous system, leading to illness, immorality, and even death. During the Enlightenment, the relationship between the nerves and music was more often put in terms of refinement and sensibility than pathology. However, around 1800, this view was challenged by a medical critique of modern culture based on a model of the etiology of disease that saw stimulation as the principal cause of sickness. Music's belated incorporation into that critique was made possible by a move away from regarding music as an expression of cosmic and social order toward thinking of it as quasi-electrical stimulation, something that was intensified by the political and cultural changes unleashed by the French Revolution. For the next hundred and fifty years, nervousness caused by musical stimulation was often regarded as a fully fledged Zivilisationskrankheit, widely discussed in psychiatry, music criticism, and literature.

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Normal/Normalität/Normalismus

Link¹

2010

Ästhetische Grundbegriffe

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Gesund oder krank?

Cited by 35 publications

References 0 publications

Stimulating Music: The Pleasures and Dangers of “Electric Music,” 1750–1900

Stimulating Music: The Pleasures and Dangers of “Electric Music,” 1750–1900

From Sensibility to Pathology: The Origins of the Idea of Nervous Music around 1800

Normal/Normalität/Normalismus

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