Themes In The Philosophy Of Music
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Author | : Stephen Davies |
Publisher | : Oxford University Press |
Total Pages | : 292 |
Release | : 2003 |
Genre | : Music |
ISBN | : 0199241570 |
These essays outline developments within the philosophy of music over the last two decades of the 20th century and summarize the state of play at the beginning of the 21st. They address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement.
Author | : Stephen Davies |
Publisher | : Oxford University Press |
Total Pages | : 293 |
Release | : 2003-01-02 |
Genre | : Art |
ISBN | : 0191515604 |
Is music a language of the emotions? How do recorded pop songs differ from works created for live performance? Is John Cage's silent piece, 4'33", music? Stephen Davies's new book collects some of his most important papers on central topics in the philosophy of music. As well as perennial questions, Davies addresses contemporary controversies, including the impact of modern technology on the presentation and reception of both new and old musical works. These essays, two ofthem new and previously unpublished, are self-standing but thematically connected, and will be of great interest to philosophers, aestheticians, and to theorists of music and art.
Author | : Aaron Ridley |
Publisher | : |
Total Pages | : 0 |
Release | : 2004 |
Genre | : |
ISBN | : 9780748309023 |
Author | : Jerrold Levinson |
Publisher | : Oxford University Press, USA |
Total Pages | : 182 |
Release | : 2015 |
Genre | : Art |
ISBN | : 019966966X |
This volume presents a new collection of essays on music by Jerrold Levinson, one of the most prominent philosophers of art today. The essays are wide-ranging and represent some of the most stimulating work being done within analytic aesthetics. Three of the essays are previously unpublished, and four of them focus on music in the jazz tradition.
Author | : Wayne D. Bowman |
Publisher | : OUP USA |
Total Pages | : 537 |
Release | : 2012-05-25 |
Genre | : Education |
ISBN | : 0195394739 |
In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge music educators all over the world to make their own decisions and ultimately contribute to the conversation themselves.
Author | : Aaron Ridley |
Publisher | : |
Total Pages | : 202 |
Release | : 2004 |
Genre | : Music |
ISBN | : |
New and distinctive approaches to five central topics in musical aesthetics are provided in this outstanding book. The topics are: understanding, representation, expression, performance and profundity. The theme of the book is the failure of the orthodox view - that pieces of music are more or less self-contained structures of sound - to account for some important features of our musical experience, and to explain why music should matter to us.In exposing and correcting that failure, the book introduces readers to the main problems and positions in the philosophy of music, proposes fresh solutions to those problems, and offers innovative approaches to the philosophy of song, to musical ontology, and to questions about the value of music. Each chapter is built around a single musical work, which provides a focus for the reader. Features* Broad, accessible introductory overview to philosophy of music* Original and stimulating insights
Author | : James Franklin Harris |
Publisher | : Open Court Publishing |
Total Pages | : 308 |
Release | : 1993 |
Genre | : Biography & Autobiography |
ISBN | : 9780812692419 |
Harris (philosophy, c. of William and Mary) explores the lyrics of rock on the human condition. Published by Open Court Publishing, Co., 332 South Michigan Avenue, Suite 2000, Chicago, IL 60604. Annotation copyright by Book News, Inc., Portland, OR
Author | : Andrew Bowie |
Publisher | : Cambridge University Press |
Total Pages | : 444 |
Release | : 2009-02-05 |
Genre | : Philosophy |
ISBN | : 9780521107822 |
Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie's Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many ideas about language, subjectivity, metaphysics, truth and ethics, and he suggests that music can show how the predominant images of language, communication, and meaning in contemporary philosophy may be lacking in essential ways. His book will be of interest to philosophers, musicologists, and all who are interested in the relation between music and philosophy.
Author | : Béla Szabados |
Publisher | : Rodopi |
Total Pages | : 221 |
Release | : 2014-06-10 |
Genre | : Philosophy |
ISBN | : 9401210993 |
This book provides the first in-depth exploration of the importance of music for Ludwig Wittgenstein’s life and work. Wittgenstein’s remarks on music are essential for understanding his philosophy: they are on the nature of musical understanding, the relation of music to language, the concepts of representation and expression, on melody, irony and aspect-perception, and, on the great composers belonging to the Austrian-German tradition. Biography and philosophy, this work suggests that Wittgenstein was a composer of philosophy who used the musical form as a blueprint for his own writing and thought. For Wittgenstein music is not alone, but connects and resonates with our cultural forms of life. His relation to composers, especially to Richard Wagner and Gustav Mahler, enables Wittgenstein to address the question of how to do philosophy and compose music in the breakdown of tradition. Unlike his conservative musical sensibility, Wittgenstein’s philosophy is open to musical experiments. Reflecting on his remarks on music makes it possible to compare the therapeutic aim of his philosophical activity with that of music, and thus notice affinities between Wittgenstein and John Cage. Béla Szabados has a Ph.D. in philosophy from the University of Calgary and is professor of philosophy at the University of Regina. His publications include Wittgenstein Reads Weininger (2004), Wittgenstein at the Movies (2011) and Wittgenstein on Race, Gender, and Cultural Identity: Philosophy as a Personal Endeavour (2010).
Author | : Charles O. Nussbaum |
Publisher | : MIT Press |
Total Pages | : 401 |
Release | : 2007 |
Genre | : Emotions in music |
ISBN | : 0262140969 |
How human musical experience emerges from the audition of organized tones is a riddle of long standing. In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain. He argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals. Construing the art music of the modern West as representational, as a symbolic system that carries extramusical content, Nussbaum attempts to make normative principles of musical representation explicit and bring them into reflective equilibrium with the intuitions of competent listeners. Nussbaum identifies three modes of musical representation, describes the basis of extramusical meaning, and analyzes musical works as created historical entities (performances of which are tokens or replicas). In addition, he explains how music gives rise to emotions and evokes states of mind that are religious in character. Nussbaum's argument proceeds from biology, psychology, and philosophy to music--and occasionally from music back to biology, psychology, and philosophy. The human mind-brain, writes Nussbaum, is a living record of its evolutionary history; relatively recent cognitive acquisitions derive from older representational functions of which we are hardly aware. Consideration of musical art can help bring to light the more ancient cognitive functions that underlie modern human cognition. The biology, psychology, and philosophy of musical representation, he argues, have something to tell us about what we are, based on what we have been.