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An introduction to diverse philosophical perspectives on the nature and value of music, ranging from the ancient Greeks to idealism to phenomenology to contemporary socio-cultural critiques. Designed to introduce the serious music student with no philosophical background to the vitality of music philosophical discourse, it explores a broad range of music philosophical terrain, showing the philsophers' reasons for holding what can seem to the non-philosopher like extraordinarily bizarre notions, while at the same time pointing out the philosophical shortcomings of what musicians often take for common-sense musical truths.
With their insistence that form is a dialectical process in the music of Beethoven, Theodor Adorno and Carl Dahlhaus emerge as the guardians of a long-standing critical tradition in which Hegelian concepts have been brought to bear on the question of musical form. Janet Schmalfeldt's account of this Beethoven-Hegelian tradition restores to the term "form" some of its philosophical associations in the early nineteenth century, when profound cultural changes were yielding new relationships between composers and listeners, and when music itself became a topic for renewed philosophical investigation. A recurring metaphor in early nineteenth-century philosophical writings is the notion of becoming. In the Process of Becoming explores the idea of "form coming into being" in respect to music by Beethoven, Schubert, Mendelssohn, Chopin, and Schumann. A critical assessment of Dahlhaus's preoccupation with the opening of Beethoven's "Tempest" Sonata serves as the author's starting point for the translation of philosophical ideas into music-analytical terms. Due to the ever-growing familiarity of late eighteenth-century audiences with formal conventions, composers could increasingly trust that performers and listeners would be responsive to striking formal transformations. Schmalfeldt's unique analytic method captures the dynamic, quasi-narrative nature of such transformations. This experiential approach invites listeners and performers to participate in the interpretation of processes by which, for example, brooding introduction-like openings become main themes and huge formal expansions offer a dazzling opportunity for multiple retrospective reinterpretations. Above all, In the Process of Becoming proposes new ways of hearing beloved works of the romantic generation as representative of a quest for novel, intensely self-reflective modes of communication.
What is consciousness? Why and when do we have it? Where does it come from, and how does it relate to the lump of squishy grey matter in our heads, or to our material and social worlds? While neuroscientists, philosophers, psychologists, historians, and cultural theorists offer widely different perspectives on these fundamental questions concerning what it is like to be human, most agree that consciousness represents a 'hard problem'.The emergence of consciousness studies as a multidisciplinary discourse addressing these issues has often been associated with rapid advances in neuroscience-perhaps giving the impression that the arts and humanities have arrived late at the debating table. The longer historical view suggests otherwise, but it is probably true that music has been under-represented in accounts of consciousness. Music and Consciousness aims to redress the balance: its twenty essays offer a timely andmulti-faceted contribution to consciousness studies, critically examining some of the existing debates and raising new questions.The collection makes it clear that to understand consciousness we need to do much more than just look at brains: studying music demonstrates that consciousness is as much to do with minds, bodies, culture, and history. Incorporating several chapters that move outside Western philosophical traditions, Music and Consciousness corrects any perception that the study of consciousness is a purely occidental preoccupation. And in addition to what it says about consciousness the volume also presents adistinctive and thought-provoking configuration of new writings about music.
This collection of essays and interviews addresses important theoretical, philosophical and creative issues in Western art music at the end of the twentieth- and the beginning of the twenty-first centuries. Edited by Max Paddison and Irène Deliège, the book offers a wide range of international perspectives from prominent musicologists, philosophers and composers, including Célestin Deliège, Pascal Decroupet, Richard Toop, Rudolf Frisius, Alastair Williams, Herman Sabbe, François Nicolas, Marc Jimenez, Anne Boissière, Max Paddison, Hugues Dufourt, Jonathan Harvey, and new interviews with Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, and Wolfgang Rihm. Part I is mainly theoretical in emphasis. Issues addressed include the historical rationalization of music and technology, new approaches to the theorization of atonal harmony in the wake of Spectralism, debates on the 'new complexity', the heterogeneity, pluralism and stylistic omnivorousness that characterizes music in our time, and the characterization of twentieth-century and contemporary music as a 'search for lost harmony'. The orientation of Part II is mainly philosophical, examining concepts of totality and inclusivity in new music, raising questions as to what might be expected from an autonomous contemporary musical logic, and considering the problem of the survival of the avant-garde in the context of postmodernist relativism. As well as analytic philosophy and cognitive psychology, critical theory features prominently, with theories of social mediation in music, new perspectives on the concept of musical material in Adorno's late aesthetic theory, and a call for 'an aesthetics of risk' in contemporary art as a means 'to reassert the essential role of criticism, of judgment, and of evaluation as necessary conditions to bring about a real public debate on the art of today'. Part III offers creative perspectives, with new essays and interviews from important contemporary composers who have made highly significant interventions in the debates around music today, both through their compositions and through their writings on music. The contributions from Pierre Boulez, Brian Ferneyhough, Helmut Lachenmann, Wolfgang Rihm, and Jonathan Harvey, and also the opening essay of the volume by the French spectralist composer and philosopher Hugues Dufourt, address issues of chance, control, freedom, intuition, ambiguity, technology, time, and meaning in contemporary music. A concluding essay by Alastair Williams on advanced contemporary music and the Austro-German tradition post-1968 provides a postlude to the book, while the whole collection is prefaced by an extended introductory chapter by Max Paddison which provides a context of ideas, and traces many of the issues discussed back to Adorno's seminal notion of une musique informelle.
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.
It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions.
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).
The author constructs a new concept of music education, one designed to stimulate, guide, and support the efforts of pre-service and practicing music teachers as they tackle the many theoretical and practical issues involved in music education. He provides rigorous reflections on the "why, what, and how" of music teaching and learning that serve as catalysts for critical thinking and individual-philosophy building.
Deep Refrains is a wide-ranging investigation of the philosophy of music. Michael Gallope asks what it means for music to "speak” when it is not saying anything in particular. To answer this question, he turns to the writings of some of the most revered thinkers of the twentieth century--Ernst Bloch, Theodor Adorno, Vladimir Jank�l�vitch, Gilles Deleuze, and F�lix Guattari. For these theorists, Gallope argues, the paradox that music is both ineffable and yet harbors deep philosophical wisdoms is fertile ground for thinking outside of conceptual boundaries. It provides the lens for a utopian potentiality that inspires hope (Bloch), an ethical critique of modernity (Adorno), an exemplification of the ephemeral movement of lived time (Jank�l�vitch), and a sonic extension of the syncopated, contrapuntal rhythms of sense and social life (Deleuze and Guattari). Gallope argues that a philosophical engagement with music’s ineffability rarely calls for silence or declarations of the unspeakable. Rather, it asks us to think through the ways in which the impact of music is made to address complex philosophical problems specific to the modern world.
`A particularly useful, informative and stimulating work for any reader with an interest in the philosophy of art.' Katerina Bantinaki, Analysis --