MSS 2/186-02: Manuscripts on music, circa 1839; undated
Series — Box: 2
Scope and Contents
This collection consists of three holograph manuscripts on music and numerous holograph notes that were used in preparing the manuscripts. The unpublished manuscripts might have been written as three separate essays or as chapters for a book. Topics addressed in the manuscripts include ancient Chinese music, music in religious ceremonies, and music in different nations.
The first manuscript is housed in a folder on which La Roche has written "Music in China Egypt". The manuscript, titled "Observations on the Ancient Music of the Chinese", is based on Abbe Arnault's French translation of a work by Ly Kuang ty. Arnault proposes that Chinese music is based on the music of the ancient Egyptians. Although La Roche agrees that both the Egyptians and the Chinese used music to calm the passions, enlighten the mind, and inspire a love for virtue, he ultimately disagrees with Arnault's assumption. After a thorough examination of ancient Chinese music, musicians, instruments, and ceremonies, La Roche examines other theories about the origins of Chinese music. La Roche concludes that the differences between Chinese andjEgyptian music suggest that neither influenced the other, but that both were derived from the music of the Greeks.
In his second manuscript, La Roche examines "the effect of music in inspiring and fostering religious feelings". La Roche describes how music elevates the soul and sublimes the thoughts, allowing for the contemplation of the Divine. According to La Roche, "hymns and harmonies of devotion are as effective as sermons in leading the heart from sin". The manuscript then discusses the use of music in religious ceremonies, using examples from the Bible and from ancient cultures.
The final manuscript, which does not have a title, begins on page twenty two. In the text, La Roche argues that the music produced by a nation reflects the emotions and feelings of the people in that nation. Thus, a lively and gay population will enjoy lively and gay music, while a melancholy population produces melancholy music. La Roche describes the instruments and "national airs" of various countries, and then discusses the music of different nations in terms of rhythm, tempo, and harmony. La Roche concludes his essay by assigning a "degree of musical feeling" to each country; Germany, Italy, and Spain are given the highest rankings.
La Roche's manuscripts on music are very rough drafts with numerous additions and deletions. La Roche frequently wrote only on the right half of the page in order to leave room on the left side for quotations and insertions. In many cases, small pieces of paper and clippings are attached to the manuscripts. Included with the manuscripts are numerous pages of notes and quotations, some of which are in French.
The first manuscript is housed in a folder on which La Roche has written "Music in China Egypt". The manuscript, titled "Observations on the Ancient Music of the Chinese", is based on Abbe Arnault's French translation of a work by Ly Kuang ty. Arnault proposes that Chinese music is based on the music of the ancient Egyptians. Although La Roche agrees that both the Egyptians and the Chinese used music to calm the passions, enlighten the mind, and inspire a love for virtue, he ultimately disagrees with Arnault's assumption. After a thorough examination of ancient Chinese music, musicians, instruments, and ceremonies, La Roche examines other theories about the origins of Chinese music. La Roche concludes that the differences between Chinese andjEgyptian music suggest that neither influenced the other, but that both were derived from the music of the Greeks.
In his second manuscript, La Roche examines "the effect of music in inspiring and fostering religious feelings". La Roche describes how music elevates the soul and sublimes the thoughts, allowing for the contemplation of the Divine. According to La Roche, "hymns and harmonies of devotion are as effective as sermons in leading the heart from sin". The manuscript then discusses the use of music in religious ceremonies, using examples from the Bible and from ancient cultures.
The final manuscript, which does not have a title, begins on page twenty two. In the text, La Roche argues that the music produced by a nation reflects the emotions and feelings of the people in that nation. Thus, a lively and gay population will enjoy lively and gay music, while a melancholy population produces melancholy music. La Roche describes the instruments and "national airs" of various countries, and then discusses the music of different nations in terms of rhythm, tempo, and harmony. La Roche concludes his essay by assigning a "degree of musical feeling" to each country; Germany, Italy, and Spain are given the highest rankings.
La Roche's manuscripts on music are very rough drafts with numerous additions and deletions. La Roche frequently wrote only on the right half of the page in order to leave room on the left side for quotations and insertions. In many cases, small pieces of paper and clippings are attached to the manuscripts. Included with the manuscripts are numerous pages of notes and quotations, some of which are in French.
Dates
- circa 1839; undated
Extent
From the Collection: 3 boxes
Language of Materials
From the Collection: English
Custodial History
This collection of Rene La Roche's manuscripts on music were separated from the Rene La Roche manuscript treatise on fevers and was reviewed by Karen Adelman in 1973. The source of the material is unknown. The collection was processed and catalogued in 1992.
Creator
- From the Collection: La Roche, René (Person)
Repository Details
Part of the Historical Medical Library of The College of Physicians of Philadelphia Repository
Contact:
19 S. 22nd Street
Philadelphia PA 19103 United States
19 S. 22nd Street
Philadelphia PA 19103 United States
