Music Between Ontology And Ideology
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| Author | : Milena Bozhikova |
| Publisher | : Cambridge Scholars Publishing |
| Total Pages | : 150 |
| Release | : 2020-02-26 |
| Genre | : Music |
| ISBN | : 1527547582 |
This book focuses on two main topics related to the essence of music, the first of which problematizes the ontological unity of music, philosophy and mathematics. The second concern of the text is the direction of social ontology or the existence of music in the context of ideological debates about style. The book looks at music’s role as part of social ontology, and the part it played in documentarily recreating the post-Stalinism of the late 1950s and 1960s.
| Author | : John Michael Cooper |
| Publisher | : Rowman & Littlefield |
| Total Pages | : 847 |
| Release | : 2024-02-12 |
| Genre | : Music |
| ISBN | : 1538157527 |
Library Journal praises the book as "an excellent one-volume ready reference resource for students, researchers, and others interested in music history." Historical Dictionary of Romantic Music, Second Edition covers the persons, ideas, practices, and works that made up the worlds of Western music during the long 19th century (ca. 1780–1918). It’s the first book to recognize that Romantic music was very nearly a global phenomenon. It includes more women, more Black musicians and other musicians of color, and more exponents of musical Romanticism from Central and South America as well as Central and Eastern Europe than any other single-volume study of Romantic music—thus challenging the conventional hegemony of musical Romanticisms by men and by Western European nations. This book includes entries on topics including anti-Semitism, sexism, and racism that were pervasive and defining to the worlds of musical Romanticism but are rarely addressed in general studies of that subject. It includes Romantic musicians who were not primarily composers, as well as topics such as the Haitian Revolution, spirituals, and ragtime that were more important for music in the long 19th century than is generally acknowledged. The result is an expansive, inclusive, diverse, and more richly textured portrayal of Romantic music than is elsewhere available. Historical Dictionary of Romantic Music, Second Edition contains a chronology, an introduction, an extensive bibliography, and a dictionary section with more than 600 cross-referenced entries on traditions, famous pieces, persons, places, technical terms, and institutions of Romantic music. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic music.
| Author | : Jean-François Lyotard |
| Publisher | : Psychology Press |
| Total Pages | : 336 |
| Release | : 1998 |
| Genre | : Art |
| ISBN | : 9789057013218 |
Music/Ideology is a response to the question: Must the practice of music analysis and music theory always reinscribe the ideology of aesthetic autonomy? And, if not, under what circumstances does it reinscribe that ideology? The responses to these questions should appeal not only to music and cultural theorists, but also to a larger audience engaged in critical theory. These essays serve as an introduction to the broad array of issues arising from approaches that represent the full spectrum, from music-theoretical to marxist and feminist issues. Such questions are of vital importance, and not only to those who are engaged in establishing a connection among music theory, music analysis, and aesthetic ideology. Music/Ideology presents today's most interesting critical thinkers in postmodern theory and music theory, introducing an interdisciplinary approach and covering a wide range of subjects - both by implication and explication.
| Author | : Per Dahl |
| Publisher | : BRILL |
| Total Pages | : 171 |
| Release | : 2019-02-18 |
| Genre | : Education |
| ISBN | : 946300887X |
FREELY AVAILABLE ONLINE AS OPEN ACCESS BOOK! This book illustrates the acquisition of knowledge in a musician’s performative practice, and how this can contribute to the development of Artistic Research. Using a broad understanding of ‘knowledge,’ the first part of the book presents aspects of the practitioner knowledge a musician develops through daily exercises and performances. Technical and practical skills, creativity and music reading are central topics. Part II describes four different methodologies of knowledge accumulation. First is the hypothetico-deductive method (music as object). Then the author asks, “Where is the musical work?” After an introduction to semiotics, the question that must follow is “Is music a language?” Following up methodologies focusing on intersubjective and contextual topics, the presentation of hermeneutics generates the question “What happens to the music when you are listening?” Being the most subjective, phenomenology is the last methodology to be presented. The question it poses is “Are analysis and interpretation two sides of the same coin?” Artistic research is a new perspective in knowledge acquisition, and the performing artist is the pivot point. The obvious insight positioning music beyond the score is elaborated into a critique of the representational theory as a relevant ontological discourse in music. As an alternative, the potential in embodied meaning theories is discussed through cognitive, linguistic and artistic approaches. Artistic expressions convey the subjective practitioner knowledge based on the difference between the objective sign and the intersubjective expression. This makes music as communication the ultimate topic. In conclusion, understanding the meaning construction and the conditions of artistic content are both of importance in artistic research.
| Author | : Lydia Goehr |
| Publisher | : Clarendon Press |
| Total Pages | : 330 |
| Release | : 1992-03-26 |
| Genre | : Music |
| ISBN | : 0191520012 |
What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer such questions, Lydia Goehr combines philosophical and historical methods of enquiry. Finding Anglo-American philosophy inadequate for the task, she shows that a historical perspective is indispensable to a full understanding of musical ontology. Goehr examines the concepts and assumptions behind the practice of classical music in the nineteenth century and demonstrates how different they were from those of previous centuries. She rejects the finding that the concept of a musical work emerged in the sixteenth century, placing its emergence instead around 1800. She describes how the concept of a work then came to define the norms, expectations, and behaviour that we now associate with classical music. Out of the historical thesis Goehr draws philosophical conclusions about the normative functions of concepts and ideals. She also addresses current debates among conductors, early music performers, and avant-gardists. - ;Introduction; I. The Analytic Approach: Status and identity: Analytical positions I; Analytical positions II; Critique and transition; II. The Historical Approach: Normativity and Practice: The central claim; Musical meaning I; Musical meaning II; Musical production I; Musical production II; Werktreue: Confirmation and challenge -
| Author | : Ian Pace |
| Publisher | : Taylor & Francis |
| Total Pages | : 405 |
| Release | : 2019-05-24 |
| Genre | : Music |
| ISBN | : 1351031538 |
The composer and pianist Michael Finnissy (b. 1946) is an unmistakeable presence in the British and international new music scene, both for his immeasurable generosity as prolific composer for many different types of musicians, major advocate for the works of others, and performer and conductor who has also been a driving force behind ensembles; he was also President of the International Society for Contemporary Music from 1990 to 1996. His vast and enormously varied output confounds those who seek easy categorisations: once associated strongly with the ‘new complexity’, Finnissy is equally known as composer regularly engaged with many different folk musics, for working with amateur and community musicians, for a long-term engagement with sacred music, or as an advocate of Anglo-American ‘experimental’ music. Twenty years ago, a large-scale volume entitled Uncommon Ground: The Music of Michael Finnissy gave the first major overview of the output of any ‘complex’ composer. This new volume brings a greater plurality of perspectives and critical sensibility to bear upon an output which is almost twice as large as it was when the earlier book was published. A range of leading contributors – musicologists, composers, performers and others – each grapple with particular questions relating to Finnissy’s music, often in ways which raise questions relating more widely to new music, and provide theoretical foundations for further of study both of Finnissy and other composers.
| Author | : John Dack |
| Publisher | : Cambridge Scholars Publishing |
| Total Pages | : 257 |
| Release | : 2019-01-10 |
| Genre | : Music |
| ISBN | : 1527524744 |
This volume brings together practitioners and theorists of music and sonic art. Contributions explore a wide range of historical, artistic, pedagogical and critical issues from multiple perspectives, emphasizing the continuities and links along a broad spectrum of hearing and listening practices and art-making that use sound.
| Author | : Lisa Giombini |
| Publisher | : Mimesis |
| Total Pages | : 287 |
| Release | : 2018-01-25T00:00:00+01:00 |
| Genre | : Philosophy |
| ISBN | : 8869771539 |
What is musical ontology? Why should we as philosophers address it, if ever? These questions constitute the Ariadne’s thread running throughout this whole work. The number of papers, volumes and essays that have recently been dedicated to the topic of art and musical ontology is so vast that trying to get a grip on the debate seems like trying to find ones bearings without a compass. This book is a guide to help hapless readers find their way through this philosophical jungle. It is constructed on three levels: the presentation of the debate on musical ontology, a meta-ontological inquiry and a sort of meta-meta-ontological overview, in which both the ontological and the meta-ontological are examined. It does not contain any apology for musical ontology, nor any attempt to definitively get it off the hook. The approach is aporetic, in the spirit of an open investigation in which more questions than answers are posited. But this is the whole point. If this study manages to provide the readers with the necessary theoretical tools to answer these questions for themselves, it could be considered a success.
| Author | : R. A. Sharpe |
| Publisher | : Clarendon Press |
| Total Pages | : 250 |
| Release | : 2000 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 9780198238850 |
Is music sad because it causes the listener to feel sad? Is it to be valued because of the pleasure it gives us? R. A. Sharpe argues that the views these questions enshrine underestimate the cognitive element in our response to music. Our beliefs about music and our knowledge of the culture in which it originated underlie the judgements we make. At their most general, these cognitive elements are ideological in nature and they play both a positive and a negative role in our response to music--they both help and hinder. Music has long been thought of as a language. This metaphor underpins the way we hear music and the way we think about it. We conceive of music both as expressive and as something to be understood. Almost certainly the roots of this conception lie in the fertilization of music by rhetoric during the Renaissance. Sharpe suggests that music may have entered a new period in which the language analogy and the humanist conception of music which it expresses are becoming less and less appropriate.
| Author | : Frances Dyson |
| Publisher | : MIT Press |
| Total Pages | : 209 |
| Release | : 2014-09-26 |
| Genre | : Technology & Engineering |
| ISBN | : 0262028085 |
Sound, tone, music, voice, and noise as forms of sonority through which our current economic and ecological crises can be understood. In this wide-ranging book, Frances Dyson examines the role of sound in the development of economic and ecological systems that are today in crisis. Connecting early theories of harmony, cosmology, and theological doctrine to contemporary media and governance, Dyson uses sound, tone, music, voice, and noise as forms of sonority through which the crises of “eco” can be read. The sonic environment, Dyson argues, is fundamental to both sense and sensibility, and its delimitation has contributed to the “senselessness” of a world now caught between spiraling debt and environmental degradation. Dyson draws on scenes, historical moments, artworks, and artistic and theoretical practice to situate the reverberative atmosphere that surrounds and sustains us. From Pythagoras's hammer and the transmutation of music into mathematics, to John Cage's famous experience in the anechoic chamber, to the relocation of the stock market from the street to the computer screen, to Occupy Wall Street's “people's microphone”: Dyson finds policies and practices of exclusion. The sound of Pythagoras's forge and the rabble of the market have been muted, rearticulated, and transformed, Dyson argues, through the monotones of media, the racket of financialization, and the gibberish of political speech. Informed by contemporary sound art, philosophy, media and sociopolitical theory, The Tone of Our Times offers insights into present crises that are relevant to a broader understanding of how space, the aural, and listening have shaped and continue to shape the world we live in.
