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| Author | : Ruth Katz |
| Publisher | : |
| Total Pages | : 424 |
| Release | : 1987 |
| Genre | : Juvenile Nonfiction |
| ISBN | : |
Vol. 1: Substance ; vol. 2: Import ; vol. 3: Essence ; vol. 4: Community of discourse.
| Author | : Ruth Katz |
| Publisher | : Pendragon Press |
| Total Pages | : 818 |
| Release | : 1989 |
| Genre | : |
| ISBN | : 9780918728685 |
| Author | : Edward A. Lippman |
| Publisher | : Pendragon Press |
| Total Pages | : 496 |
| Release | : 1986 |
| Genre | : Juvenile Nonfiction |
| ISBN | : 9780918728906 |
The second volume of this anthology of musical aesthetics proceeds from the rational, common-sense examination of the 18th-century artistic experience to the realm of 19th-century expressiveness. The rational foundation of aesthetics gave way to an emphasis on an art form's strength of feeling and expressive power, a purity of the creation and the creator. No longer confined to a restricted sense of beauty, music admitted the violent, the enormous and the ugly into its sphere of emotion, now the era of romanticism and Sturm und Drang. These developments are here detailed in the writings of Wackenroder, Herder, Thibaut, Schelling, Hegel, Schopenhauer, Kirkegaard, Wagner, Hanslick, Ambros, Nietzsche, Spencer, Gurney, and Haussegger. Through them we see the classical province of proportion, educated taste and contained expressiveness recede, and the emotional realism of music come to the fore.
| Author | : Rūta Stanevičiūtė |
| Publisher | : Springer |
| Total Pages | : 409 |
| Release | : 2019-06-01 |
| Genre | : Music |
| ISBN | : 3030144712 |
This book provides a new approach to the intersections between music and philosophy. It features articles that rethink the concepts of musical work and performance from ontological and epistemological perspectives and discuss issues of performing practices that involve the performer’s and listener’s perceptions. In philosophy, the notion of essence has enjoyed a renaissance. However, in the humanities in general, it is still viewed with suspicion. This collection examines the ideas of essence and context as they apply to music. A common concern when thinking of music in terms of essence is the plurality of music. There is also the worry that thinking in terms of essence might be an overly conservative way of imposing fixity on something that evolves. Some contend that we must take into account the varying historical and cultural contexts of music, and that the idea of an essence of music is therefore a fantasy. This book puts forward an innovative approach that effectively addresses these concerns. It shows that it is, in fact, possible to find commonalities among the many kinds of music. The coverage combines philosophical and musicological approaches with bioethics, biology, linguistics, communication theory, phenomenology, and cognitive science. The respective chapters, written by leading musicologists and philosophers, reconsider the fundamental essentialist and contextualist approaches to music creation and experience in light of twenty-first century paradigm shifts in music philosophy.
| Author | : Joseph Kerman |
| Publisher | : Harvard University Press |
| Total Pages | : 260 |
| Release | : 2009-06-01 |
| Genre | : Music |
| ISBN | : 9780674039568 |
Contemplating Music is a book for all serious music lovers. Here is the first full-scale of ideas and ideologies in music over the past forty years; a period during which virtually every aspect of music was transformed. With this book, Joesph Kerman establishes the place of music study firmly in the mainstream of modern intellectual history. He treats not only the study of the history of Western art music--with which musicology is tradtionally equated--but also sometimes vexed relations between music history and other fields: music theory and analysis, ethnomusicology, and music criticism. Kerman sees and applauds a change in the study of music towarda critical orientation, As examples, he presents a fascinating vignettes of Bach research in the 1950's and Beethoven studies in the 1960's. He sketched the work of prominent scholars and theorists: Thurston Dart, Charles Rosen, Leonard B. Meyer, Heinrich Schenker, Miltion Babbit, and many others. And he comments on such various subjects as the amazing absorption of Stephen Foster's songs into the cannons of black music, the new intensity of Verdi research, controversies about performance on historical instruments, and the merits and demerits of The New Grove Dictionary of Music and Musicians. Comtemplating Music is fulled with wisdom and trenchant commmentary. It will spark controversy among musicologists of all stripes and will give many musicians and amateurs an entirely new perspective on the world of music.
| Author | : Carl Dahlhaus |
| Publisher | : Ceramic Transactions |
| Total Pages | : 834 |
| Release | : 1992-03 |
| Genre | : Music |
| ISBN | : 9780945193043 |
The third of this four-volume anthology contains two parts: Linguistic Metaphor and Symbolic Language (writings of Guido d'Arezzo, Athanasius Kircher, Christopher Bernard, Johann Mattheson, Daniel Webb, J.J. Engel, Ludwig Wingenstein, Susa nne K. Langer, Deryck Cooke, Nelson Goodman, and Nicholas Wolterstotff), and Sensory Cognition and Unconscious Referentials (Gottfried W. Leibniz, Jean Philippe Rameau, Hermann Helmholtz, Heinrich Schenker, Arnold Schoenberg, Victor Zuckerkandl, Fritz Winckel, and Carl Dahlhaus/György Ligeti).
| Author | : John McGrath |
| Publisher | : Routledge |
| Total Pages | : 178 |
| Release | : 2017-11-13 |
| Genre | : Music |
| ISBN | : 1317059646 |
Music abounds in twentieth- century Irish literature. Whether it be the "thought-tormented" music of Joyce’s "The Dead", the folk tunes and opera that resound throughout Ulysses, or the four- part threnody in Beckett’s Watt, it is clear that the influence of music on the written word in Ireland is deeply significant. Samuel Beckett arguably went further than any other writer in the incorporation of musical ideas into his work. Musical quotations inhabit his texts, and structural devices such as the da capo are metaphorically employed. Perhaps most striking is the erosion of explicit meaning in Beckett’s later prose brought about through an extensive use of repetition, influenced by his reading of Schopenhauer’s philosophy of music. Exploring this notion of "semantic fluidity", John McGrath discusses the ways in which Beckett utilised extreme repetition to create texts that operate and are received more like music. Beckett’s writing has attracted the attention of numerous contemporary composers and an investigation into how this Beckettian "musicalized fiction" has been retranslated into contemporary music forms the second half of the book. Close analyses of the Beckett- inspired music of experimental composer Morton Feldman and the structured improvisations of avantjazz guitarist Scott Fields illustrate the cross- genre appeal of Beckett to musicians, but also demonstrate how repetition operates in diverse ways. Through the examination of the pivotal role of repetition in both music and literature of the twentieth century and beyond, John McGrath’s book is a significant contribution to the field of Word and Music Studies.
| Author | : Wesley Phillips |
| Publisher | : Springer |
| Total Pages | : 223 |
| Release | : 2015-07-08 |
| Genre | : Philosophy |
| ISBN | : 1137487259 |
Metaphysics and Music in Adorno and Heidegger explains how two notoriously opposed German philosophers share a rethinking of the possibility of metaphysics via notions of music and waiting. This is connected to the historical materialist project of social change by way of the radical Italian composer Luigi Nono.
| Author | : Assistant Professor of Music and Ad Astra Fellow Tomás McAuley |
| Publisher | : Oxford University Press, USA |
| Total Pages | : 1151 |
| Release | : 2020-12-30 |
| Genre | : Music |
| ISBN | : 0199367310 |
Whether regarded as a perplexing object, a morally captivating force, an ineffable entity beyond language, or an inescapably embodied human practice, music has captured philosophically inclined minds since time immemorial. In turn, musicians of all stripes have called on philosophy as a source of inspiration and encouragement, and scholars of music through the ages have turned to philosophy for insight into music and into the worlds that sustain it. In this Handbook, contributors build on this legacy to conceptualize the rich interactions of Western music and philosophy as a series of meeting points between two vital spheres of human activity. They draw together key debates at the intersection of music studies and philosophy, offering a field-defining overview while also forging new paths. Chapters cover a wide range of musics and philosophies, including concert, popular, jazz, and electronic musics, and both analytic and continental philosophy.
| Author | : Alastair Williams |
| Publisher | : Cambridge University Press |
| Total Pages | : 293 |
| Release | : 2013-07-18 |
| Genre | : Music |
| ISBN | : 1107067103 |
Music in Germany since 1968 modifies the dominant historiography of music in post-war Germany by shifting its axis from the years of reconstruction after 1945 to the era following the events of 1968. Arguing that the social transformations of 1968 led to a new phase of music in Germany, Alastair Williams examines the key topics, including responses to serialism, music and politics, and the re-evaluation of tradition. The book devotes central chapters to Helmut Lachenmann and Wolfgang Rihm, as focal points for areas such as postmodernism, musical semiotics and action-based gestures. Further chapters widen the scope by considering the precursors and contemporaries of Rihm and Lachenmann, especially in relation to the idea of historical inclusion. Williams's study also assesses the development of the Darmstadt summer courses, addresses the significance of German reunification, and considers the role of Germany in a new stage of musical modernism.
