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From the late seventeenth to the early twentieth century resonance was considered to be the key mechanism governing the physiology of pitch perception. The epistemological hegemony of resonance was, however, never stable, especially during the early nineteenth century when in the wake of vitalist and “Romantic” concepts of bodily functioning organicist models of auditory perception displaced Cartesianism’s machine body. Moreover, the “discovery” of auditory resonance was heavily contingent on the emergence of a new metaphysics of subjectivity and art stressing self-making and self-reflexivity as cornerstones of rationality that clashed with the notion of the ear as a passively perceiving organ. 

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