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On the Nature of Musical Experience discusses the shared beliefs of twenty prominent aestheticians, composers, theorists, and educators, and identifies fourteen features of musical experience as widespread phenomenon.
Explaining that musicality is an essential touchstone of the human experience, a concise introduction to the study of the nature of music, its community and its cultural values explains the diverse work of today's ethnomusicologists and how researchers apply anthropological and other social disciplines to studies of human and cultural behaviors. Original.
This book explores the various ways music affects people and how they create meaning from everyday musical experiences, from infancy through old age. These experiences help us construct meaning and understanding of ourselves, our cultures, and our world. The contributors examine the nature of musical experience and how it changes throughout our lifespan.
In this landmark series of lectures, Rudolf Steiner challenges the notion that human consciousness has in essence remained the same throughout history. On the contrary, we can only see the past in its true light when we study the differences in human souls during the various historical eras. Consciousness, he says, evolves constantly and we can only comprehend the present by understanding its origin in the past. Delivered in the evenings during the course of the ‘mystery act’ of the Christmas Foundation Meeting – when Rudolf Steiner not only re-founded the Anthroposophical Society but for the first time took a formal role within it – these lectures study world history in parallel with the ancient mysteries of initiation, showing how they are intimately linked. Steiner describes consciousness in the ancient East and follows the initiation principle from Babylonia to Greece, up to its influences in present-day spiritual life. He also discusses Gilgamesh and Eabani, the mysteries of Ephesus and Hibernia, and the occult relationship between the destruction by fire of the Temple of Artemis and the burning of the first Goetheanum in Dornach, Switzerland. Published for the first time with colour plates of Steiner’s blackboard drawings, the freshly-revised text is complemented with an introduction, notes and appendices by Professor Frederick Amrine and an index.
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.
"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review
What do we mean when we speak about and advocate for ‘nature’? Do inanimate beings possess agency, and if so what is its structure? What role does metaphor play in our understanding of and relation to the environment? How does nature contribute to human well-being? By bringing the concerns and methods of phenomenology to bear on questions such as these, this book seeks to redefine how environmental issues are perceived and discussed and demonstrates the relevance of phenomenological inquiry to a broader audience in environmental studies. The book examines what phenomenology must be like to address the practical and philosophical issues that emerge within environmental philosophy, what practical contributions phenomenology might make to environmental studies and policy making more generally, and the nature of our human relationship with the environment and the best way for us to engage with it.