Apparatus of Capture: Music and the Mimetic Construction of Social Reality in the Early Modern/Colonial Period.
This paper supplements Gebauer and Wulf's analyses of mimesis as a mechanism for the construction of social reality. After situating archaic musical mimesis in the context of Homeric performance and its critique in Plato, I demonstrate how musical mimesis functions as an assemblage of inscription of...
| Published in: | CounterText Vol. 8; no. 1; pp. 123 - 149 |
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| Format: | Article |
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Edinburgh University Press
Apr2022
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=156940883&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 156940883 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 20564406 JRXS jtl: CounterText issn: 20564406 maglogo: N pubinfo: dt: Apr2022 vid: 8 iid: 1 pid: 2327 pub: Edinburgh University Press artinfo: ui: 156940883 10.3366/count.2022.0260 ppf: 123 ppct: 26 formats: fmt: – @attributes: type: T – @attributes: type: P size: 150KB tig: atl: Apparatus of Capture: Music and the Mimetic Construction of Social Reality in the Early Modern/Colonial Period. aug: au: Vélez, Daniel Villegas su: Plato, 428-347 B.C. Social constructionism Colonies Inscriptions Music history Baroque music Mimesis Social values Indigenous peoples South America sug: subj: South America Plato, 428-347 B.C. Social constructionism Colonies Inscriptions Music history Baroque music Mimesis Social values Indigenous peoples keyword: Baroque decoloniality indigenous Jesuit reductions Medici mimesis music performance Plato ab: This paper supplements Gebauer and Wulf's analyses of mimesis as a mechanism for the construction of social reality. After situating archaic musical mimesis in the context of Homeric performance and its critique in Plato, I demonstrate how musical mimesis functions as an assemblage of inscription of social mores and values through two case studies. The first examines how this mimetic mechanism is actualised in the 1589 Medici intermedi as an allegorical apparatus of capture that enables the sovereign to control the space and time of the performance. The second examines how this apparatus is redeployed by seventeenth-century Jesuit missionaries in South America to coerce nomadic Indigenous peoples into settlements known as 'reducciones'. The paper advances an account of the darker role of musical mimesis in the dissymmetrical construction of social reality during the baroque: as a world-making tool of sovereign power and a world-destroying mechanism of epistemic genocide in colonised territories. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of CounterText is the property of Edinburgh University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: CounterText holder: Edinburgh University Press dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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