Prins Jacomien
Universiteit Utrecht, Onderzoeksinstituut voor Geschiedenis en Cultuur, Muntstraat 2a, 3512 EV Utrecht.
Gewina. 2006;29(1):41-52.
In this article, I will discuss music therapy in Marsilio Ficino's Timaeus-commentary. Ficino's model of sound perception is reconstructed. It lays the foundation for the medical and mind-expanding function of music in his philosophy. Ficino's music therapy follows from his ideas about the harmony of the spheres, a concept that was used in Western culture well into the fifteenth century for rather static descriptions of the cosmos, mainly meant to praise God and his creation. The traditional view about celestial harmony provided hardly any possibility for active human involvement. Ficino changed this significantly when he united Platonic ideas about the music of the spheres with biblical ideas about the imprint of God's image on human beings. Thus, knowledge of the harmonic structure of the cosmos became possible. I will argue that Ficino's reconciliation of the Timaeus with the book of Genesis allowed for the connection of the ancient doctrines of cosmic harmony and the power of music. This resulted in new possibilities for music therapy.
在本文中，我将探讨马尔西利奥·菲奇诺对《蒂迈欧篇》的评注中的音乐疗法。菲奇诺的声音感知模型得以重构。这为音乐在其哲学中的医学和拓展思维功能奠定了基础。菲奇诺的音乐疗法源自他关于天体和谐的观点，这一概念在西方文化中一直被使用到15世纪，主要用于对宇宙进行相当静态的描述，主要目的是赞美上帝及其创造。关于天体和谐的传统观点几乎没有为人类的积极参与提供任何可能性。当菲奇诺将柏拉图关于天体音乐的观点与圣经中关于上帝形象在人类身上的印记的观点结合起来时，他显著地改变了这种情况。因此，对宇宙和谐结构的认识成为可能。我将论证，菲奇诺对《蒂迈欧篇》与《创世纪》的调和使得古代宇宙和谐学说与音乐力量之间建立了联系。这为音乐疗法带来了新的可能性。
