New technologies, new musicians -- Aural awareness -- Organizing sound -- Creating music -- Performing -- Cultural context -- Critical engagement -- The digital musician -- Projects and performance.

Pendragon Press is proud to offer this new, revised, and expanded edition of Formalized Music, Iannis Xenakis's landmark book of 1971. In addition to three totally new chapters examining recent breakthroughs in music theory, two original computer programs illustrating the actual realization of newly proposed methods of composition, and an appendix of the very latest developments of stochastic synthesis as an invitation to future exploration, Xenakis offers a very critical self-examination of his theoretical propositions and artistic output (...) of the past thirty-five years. This edition of Formalized Music is an essential tool for understanding the man and the thought processes of one of this century's most important and revolutionary musical figures. (shrink)

Music Criticism in Vienna records a culture in which musical criticism had achieved the status of a minor art form. The period covered - October 1896 to December 1897 - was an eventful time in Vienna. Bruckner died, then Brahms; Mahler arrived; premieres of works by Czech composers coincided with increasing tension in the Empire between Czechs and Germans; Puccini's La Boheme reached Vienna on its sensational progress around the world; and the great programme music debate (...) continued. These events and issues were recorded and debated by some two dozen critics ranging from Eduard Hanslick, widely credited with (and blamed for) raising music criticism to an art, to Heinrich Schenker. The focus of Sandra McColl's monograph is unashamedly on the critics themselves, and her reconstruction of the climate of debate about whatever music or musicians came to their notice. She illuminates the intellectual climate in which the music was created, performed and received, and provides a foundation for the study of musical criticism in the post-Hanslick generation. (shrink)

A history of music aesthetics from Antiquity to the present day. Fubini considers musical thought in terms of its relationship to philosophy, medicine, astronomy, mathematics and teaching in the period up to the Enlightenment. The second half of the book concentrates on key issues in contemporary music aesthetics, placing them in the perspective of the Enlightenment and of 19th-century philosophers.".

Stimmung in music -- The philosophy of Stimmung -- Playing in between -- History -- Duration -- Aftersong.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Latin Literature. A HistoryRichard F. ThomasGian Biagio Conte. Latin Literature. A History. Translated by Joseph B. Solodow. Revised by Don Fowler and Glenn W. Most. Baltimore and London: The Johns Hopkins University Press, 1994. xxxiii 1 827 pp. $65.00.The work under review is a translation of Gian Biagio Conte’s 1987 book Letteratura latina; Manuale storico dalle origini alla fine dell’ impero, a book whose title page acknowledged (...) the collaboration of Alessandro Barchiesi, Emanuele Narducci, Giovanni Polara, Giuliano Ranucci, and Gianpiero Rosati. In the translation these scholars have been moved into C.’s “Acknowledgements,” making room for the new group on the title page, as given above. Of these, Don Fowler provided a bibliography and “in a sense has helped to direct the whole editorial enterprise,” while Glenn Most (like Solodow, one of C.’s English translators), rewrote sections on reception. Elaine Fantham introduces the work with an encomiastic “blurb” and general appreciation of the scholarship of C. C.’s own preface adds to the “gang of five” original collaborators a new group of three (Mario Labate, Alessandro Schiesaro, Rolando Ferri) who “have freely given me the support of their attentive and considerate criticism.” One recent reviewer talks of “the thorough control of the material by the single mind of the original author” (Robert P. Sonkowsky, The Key Reporter 61.3 [1996] 13), as does another for whom “the book is the production of a single mind” (J. Griffin, “The Long Latin Line,” review in New York Review of Books [Oct. 6, 1994] 43); it therefore seems only right to register my dissent from such a judgment.Much in Latin studies right now seems to involve a pack mentality: teams toil away for their grex, writing encomiastic and disingenuously uncritical reviews, or footnotes acknowledging the help of other teammates, attending conferences, organizing group-solidifying essay collections, even new series and manifestoes promising a “New Latin”—a term that seems to have no particular theoretical or intellectual content, nor a purpose other than to appeal vaguely for some sort of postmodernist approval. Barbara F. McManus’ summary of a paper on the uses of e-mail for mobilizing interest groups, delivered at a conference on computers and the classics by the very editor of the book under review, Don Fowler (“The Scroll and the Screen: Computers and Classical Literary Criticism”), gives a clear account of procedure and techniques in use:Electronic communication allows small groups with strongly related interests to form, cohere, and influence the larger disciplinary community; because such groups start with fundamental agreement on intellectual frameworks and approaches, they can develop ideas rapidly and in depth.(2/8/97 )What happens when other, less organized and more individual, insights fail to coincide with the “fundamental agreement” of the “group,” and how, we might wonder, will such individualism hold up in the face of this mission to “influence the larger disciplinary community”? [End Page 471]Be all this as it may and whatever the realities of authorship, the achievement of Gian Biagio Conte’s volume is a signal one. Latin Literature is a work of considerable value, a work which I have already used with success in teaching the history of Latin literature. Whatever the state of its authorship, I would now move to a review of some of its merits, which are considerable, and in which C. himself is obviously a participant throughout. The book begins with the origins of Latin literature and extends to Bede and the national literatures that were to transmit Latin literature into the vernaculars, that would in turn connect the essential themes and fundamental concerns of classical Latin literature to the cognate and evolving experiences of later antiquity and the middle ages. The original authors worked to a formulaic scheme: generally “Life,” “Works,” some treatment of cultural/political/social context, “Literary Success” (for the Italian “Fortuna”—I would have preferred “Reception”), and bibliography. This latter, again by Fowler, is developed from the Italian version and is generally made more international, often with the result that it sits somewhat uneasily with the original articles, which are largely unchanged, and whose authors presumably made... (shrink)

The first publication in English of Adorno's most sustained analysis of modern music.

In _The World Computer_ Jonathan Beller forcefully demonstrates that the history of commodification generates information itself. Out of the omnipresent calculus imposed by commodification, information emerges historically as a new money form. Investigating its subsequent financialization of daily life and colonization of semiotics, Beller situates the development of myriad systems for quantifying the value of people, objects, and affects as endemic to racial capitalism and computation. Built on oppression and genocide, capital and its technical result as computation manifest as (...) racial formations, as do the machines and software of social mediation that feed racial capitalism and run on social difference. Algorithms, derived from for-profit management strategies, conscript all forms of expression—language, image, music, communication—into the calculus of capital such that even protest may turn a profit. Computational media function for the purpose of extraction rather than ameliorating global crises, and financialize every expressive act, converting each utterance into a wager. Repairing this ecology of exploitation, Beller contends, requires decolonizing information and money, and the scripting of futures wagered by the cultural legacies and claims of those in struggle. (shrink)

his article will focus on the mechanistic origins of the computer metaphor, which forms the conceptual framework for the methodology of the cognitive sciences, some areas of artificial intelligence and the philosophy of mind. The connection between the history of computing technology, epistemology and the philosophy of mind is expressed through the metaphorical dictionaries of the philosophical discourse of a particular era. The conceptual clarification of this connection and the substantiation of the mechanistic components of the computer (...) metaphor is the main goal of this article. The statement is substantiated that the invention of mechanical computing devices, having a long history in the European engineering tradition, formed the prerequisites for the emergence of machine functionalism in the modern philosophy of mind. The idea of multiple implementation stems from the principle that a formal symbol system prescribes rules for the use of rational abstractions through the physical architecture of a computational engine. The article considers the reasons for the conceptual shift and reveals the semantic foundations for the metaphorical transfer of the properties of abstract objects from the theory of automata to the field of modern philosophy of mind. The criticism and ways of protecting the philosophical program of machine functionalism are analyzed by changing the content of the metaphor “Mind as machine”. The reasons for the stability of the information-computer approach in cognitive sciences are also disclosed and explained. (shrink)

In a future world of ubiquitous computing, in which humans interact with computerized technologies even more frequently and in even more situations than today, interface design will have increased importance. One feature of interface that I argue will be especially relevant is what I call abstract relational strategies. This refers to an approach (in both a bodily and conceptual sense) toward the use of a technology, an approach that is general enough to be applied in many different concrete scenarios. Such (...) an abstract manner of approach is relevant, for example, when an interface design for a device to which users are already accustomed is applied to an entirely different device (such as a device used for a completely different purpose). To articulate this idea, I explore the history of keyboards, and consider how the habits of interface with one kind (e.g., piano keyboards) have historically enabled some users to approach other technologies fitted with similar keyboard interface (e.g., typewriters, electronic instrumentation). I conclude by brainstorming ways that abstract relational strategies, applicable to a variety of different devices, will have increased importance in a future world in which computing is even more ubiquitous than today. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Beardsley's AestheticsProblems in the Philosophy of CriticismDonald Crawford (bio)Monroe Beardsley's Aesthetics was published the year I was a junior philosophy major at the University of California, Berkeley, and by the end of that academic year, I had completed semester courses in the history of ancient as well as modern philosophy, logic, ethics, and the philosophy of religion. The requirements remaining for me in philosophy in my (...) senior year were a course in either epistemology or metaphysics, plus five elective philosophy courses. I had fairly developed interests in literature, especially poetry, classical music, film, and the visual arts, so it seemed natural for me to select a course in aesthetics as one of my remaining electives. Nonetheless, I had no idea what aesthetics was. When I looked up the word in the dictionary, I found the following definition: "The branch of philosophy dealing with beauty or the beautiful, especially in the fine arts." Even today, the Berkeley philosophy course catalog entry for aesthetics simply says, as it did then, "Aesthetics: Visual arts/literature and music. Form, expression, representation, style; interpretation and evaluation."Interpretation and evaluation sounded worth pursuing. At that time I had no doubt that almost any music by Bach was better than that by Offenbach, that Van Gogh's Starry Night was in a different class than Norman Rockwell's covers for the Saturday Evening Post, or that Bergman's The Seventh Seal (1957) was a far better film than Attack of the Crab Monsters of the same year. And I was fully convinced that some poems lent themselves to more interesting and profound readings—that is, interpretations—than others and therefore were better poems. So a course that dealt with the interpretation and evaluation of the visual arts, literature, and music was enticing. The class lectures were rather dull, however, and I began to have regrets for enrolling. Besides, the required text was brand new and had several drawbacks: there were no used copies available so it was expensive ($7.50!), and its 591 pages were bound in hardback and heavy. [End Page 19]Yes, the text was Beardsley's Aesthetics, and my now well-worn copy is complete with my original revealing and indelible underlines that remind me of my naiveté. I recall being immediately struck by the book's epigraph—a quotation from David Hume: "I am uneasy to think I approve of one object, and disapprove of another; call one thing beautiful, and another deform'd; decide concerning truth and falsehood, reason and folly, without knowing upon what principles I proceed." This encouraged me to think that this book and course would teach me the principles that underlay my unreasoned critical comparative evaluations of poems, films, and other works of art. Was this false optimism? After glancing at the table of contents, I quickly turned to chapter 10, "Critical Evaluation," where I read on page 454: "The problems to which we now come have been put off as long as possible in the hope that a circumspect approach would make them more vulnerable." I wasn't quite sure what that meant ("vulnerable" to what?), but it seemed to imply that it was necessary to start at the beginning of the book.1 So I did just that. To my delight, almost immediately, on page 3, Beardsley provided his definition of "aesthetics," saying: "[A]esthetics consists of those principles that are required for clarifying and confirming critical statements. It can be thought of, then, as the philosophy of criticism, or metacriticism" (3-4; emphasis in the original). Unless by "critical statement" Beardsley meant judgments of beauty, this didn't really correspond with either Webster's definition or the course description of aesthetics. Beardsley's concept of a critical statement was much broader than that in common use today, and it reflected the attitude of the founders of the American Society for Aesthetics, who named their journal the Journal of Aesthetics and Art Criticism (JAAC). Beardsley said he would be "using the term 'critical statement,' very broadly, to refer to any statement about a work of art" (3) and that a critical statement "need not be a value judgment at... (shrink)

This paper presents folk impressions of the University of Manchester’s difficulties in becoming a great university, but by means of a fiction imitating a distinguished writer from the Indian subcontinent. The impressions concern past efforts and the difficulties they faced.

Given this bewildering abundance, how we can speak of a single thing called "music"? This book argues that we can.

In lieu of an abstract, here is a brief excerpt of the content:An Undeleter for CriticismSimon Jarvis (bio)Is there experience of beauty, or is it only that we sometimes choose to sort and name certain experiences by using a set of terms, originating often in ancient and medieval philosophy and theology and by a long process of mutation and manipulation arriving under the disciplinary heading of "aesthetics"? This question asks for at least two kinds of information. It does not only (...) ask for information about the history of the formation of the concepts of aesthetics; it also asks for information about experiences. But information about experiences is hard to come by. This is not only, perhaps, for the large reason that "information is concerned with alien objects," rather than with experiences,1 but also for the more local one that "aesthetics" does not often attempt to describe any experiences with determined fidelity.2I can illustrate this with reference to a branch of aesthetics in which I have a particular interest, the aesthetics of prosody. A good deal of subtle and sometimes brilliant work exists in this field. It is rare, however, to find writing which describes in any detail the particular experiences which a particular living individual has had in relation to a line of poetry.3 One is much more likely to find such descriptions in works of fiction (or, rarely, in brief reviews) than in professional writing on the topic of prosody. There seem at first to be some obvious and good reasons for this. Professional writing demands not that we merely report our own subjective experiences, but that we produce knowledge. Critics are not paid to be artists but to be a kind of scientists of art. But what if there is no such science? What if "there is no science of the beautiful" [Kant, CJ 172]? Would that mean that the whole subject area should simply be—deleted?That this is a possibility is confirmed by the fact that in one area of thinking about aesthetic experience, it has almost happened already. While there are still a number of paid professionals who understand part of their vocation to be bound up with investigating the experience of the beauty or other value of works of art, there are few paid aestheticians of nature.4 There have been historical periods in which numbers of printed nonfiction [End Page 3] texts were devoted both to experiences of natural beauty and also to the relative propensity of natural appearances to occasion such experiences. Such descriptions are now thought to be, insofar as they are of interest at all, the province of artists.5 This is indeed a consequence of something like an acceptance that, in the sphere of experiences of nature, at least, "there is no science of the beautiful." Most agree that "an ideal of a beautiful view is unthinkable" [CJ 80]. Yet few, perhaps, would now argue that an ideal of a beautiful poem is quite thinkable either.We are thus returned to the question posed above. If there is no science of the beautiful, must claims to experiences of beauty be treated as fictional—in the specific sense that they are matters for fiction, and not for science? Why should the concept not be altogether eliminated?Perhaps for this reason. Let us imagine that I think I have had an experience. I have been walking along a street at night, say, head down as though scrutinizing the quite complex surface of tarmacadam, kerbstone, painted parking and motoring instructions, drain covers and grilles, although perhaps in distraction I may have been allowing my eyes simply to pass lightly over all this while I think about a mortifying remark addressed to me at a recent committee meeting, or attempt to identify the catalogue number relevant to a fragment of piano music which has come into my head; may, for example, as if startled by a call or a cry of pain have raised my look from the wet pavement—which I now possibly "see" for the first time (since it is the soul which sees, and not the eye [Descartes 1: 172])—and now indeed see at a great distance ahead of me, almost at the horizon of... (shrink)

Prelude and address. I'm listening -- Author's rights, listener's rights (journal of our ancestors) -- Writing our listenings: arrangement, translation, criticism -- Our instruments for listening before the law (second journal entry) -- Listening (to listening): the making of the modern ear -- Plastic listening.

La musique, en tout cas la classique - nous ne le cachons pas -, est morte.

Influenced by methodological trends in contemporary cultural history, recent writings in music history now share a common and very basic concern: to reconcile the desire to treat musical works as purely musical entities with value and significance of their own with the desire to account for the fact that such works are conditioned by the historical, social, and psychological contexts in which they are produced. This essay places these modern reconciliations within a broader discussion of the uneasy (...) relations that hold between the domains of the musical and the extra-musical. It shows how both the logic and the history of this relationship has reflected the need to establish borders of the musical domain, and, following upon that, criteria of relevance for determining what is and what is not to be included in the writing of music history. (shrink)

Now commonly accepted as the point of reference for musicians in the Western world, A 440 hertz only became the standard pitch during an international conference held in 1939. The adoption of this norm was the result of decades of negotiations between countries involving performers, composers, diplomats, physicists, and sound engineers. Although musicians and musicologists are aware of the variability of musical pitches over time, as attested by the use of lower frequencies to perform early music repertoires, no study (...) has fully explained the invention of our current concert pitch. In this book, Fanny Gribenski draws on a rich variety of previously unexplored archival sources and a unique combination of musicological perspectives, transnational history, and science studies. Tuning the World demonstrates the aesthetic, scientific, industrial, and political contingencies underlying the construction of one of the most "natural" objects of contemporary musical performance, itself the result of a cacophony of competing views and interests. (shrink)

What does it mean to say that music is deeply moving? Or that music's aesthetic value derives from its deep structure? This study traces the widely employed trope of musical depth to its origins in German-language music criticism and analysis. From the Romantic aesthetics of E. T. A. Hoffmann to the modernist theories of Arnold Schoenberg, metaphors of depth attest to the cross-pollination of music with discourses ranging from theology, geology and poetics to psychology, philosophy (...) and economics. The book demonstrates that the persistence of depth metaphors in musicology and music theory today is an outgrowth of their essential role in articulating and transmitting Germanic cultural values. While musical depth metaphors have historically served to communicate German nationalist sentiments, Watkins shows that an appreciation for the broad connotations of those metaphors opens up exciting new avenues for interpretation. (shrink)

Nietzsche, Friedrich Wilhelm, 1844-1900. The birth of tragedy out of the spirit of music - Criticism and interpretation ; Greek drama (Tragedy) - History and criticism.

This book is the first to put forward a general theory of the manner in which different media--music, words, moving picture, and dance--work together to create multimedia. Beginning with a study of the way in which meaning is mediated in television commercials, the book concludes with in-depth readings of Disney's Fantasia, Madonna's video Material Girl, and Armide (Godard's sequence from the collaborative film Aria). Analysing Musical Multimedia not only shows how approaches deriving from music theory can contribute to (...) the understanding of multimedia, but also seeks to draw conclusions from the practice and further development of musical analysis. (shrink)

'Caractère', 'densité', 'texture', 'bloc', 'trait', 'profil', 'figure' ou encore 'énergie'... : ces termes, s'ils sont souvent convoqués dans le discours musicologique se référant aux oeuvres des XXe et XXIe siècles, résistent à la clôture d'une définition. De telles notions mobilisent différentes dimensions de l'écriture mais aussi - et peut-être surtout - cherchent chacune à désigner un aspect qualitatif du musical, ce 'devenir illimité' du discours, difficile à neutraliser et à rationaliser. Le colloque organisé à l'Université Paris 8, intitulé 'Manières d'être (...) du musical', dont nous éditons aujourd'hui les actes, proposait ainsi de 'connaître l'individu à travers l'individuation plutôt que l'individuation à partir de l'individu' en interrogeant les outils compositionnels et les catégories qualitatives de l'écriture ayant pour fonction de différencier le musical en comportements ou manières d'être singuliers'"--Page 4 of cover. (shrink)

Classic, influential study of Greek tragedy.

Schubert's late music has proved pivotal for the development of diverse fields of musical scholarship, from biography and music history to the theory of harmony. This collection addresses current issues in Schubert studies including compositional technique, the topical issue of 'late' style, tonal strategy and form in the composer's instrumental music, and musical readings of the 'postmodern' Schubert. Offering fresh approaches to Schubert's instrumental and vocal works and their reception, this book argues that the music (...) that the composer produced from 1822–8 is central to a paradigm shift in the history of music during the nineteenth century. The contributors provide a timely reassessment of Schubert's legacy, assembling a portrait of the composer that is very different from the sentimental Schubert permeating nineteenth-century culture and the postmodern Schubert of more recent literature. (shrink)

Computational methods and perspectives can transform the history of science by enabling the pursuit of novel types of questions, dramatically expanding the scale of analysis , and offering novel forms of publication that greatly enhance access and transparency. This essay presents a brief summary of a computational research system for the history of science, discussing its implications for research, education, and publication practices and its connections to the open-access movement and similar transformations in the natural and social sciences (...) that emphasize big data. It also argues that computational approaches help to reconnect the history of science to individual scientific disciplines. (shrink)

As part of an ongoing study of causal models in the history of science, a counterfactual scenario in the history of modern astronomy is explored with the aid of computer simulations. After the definition of “linking advance”, a possible world involving technological antecedence is described, branching out in 1510, in which the telescope is invented 70 years before its actual construction, at the time in which Fracastoro actually built the first prototelescope. By using the principle of the (...) closest possible world, we estimate that in this scenario the discovery of the elliptical orbit of Mars would by anticipated by only 28 years. The second part of the paper involves an estimate of the probability of the previous scenario, guided by the principle that the actual world is the mean and using computer simulations to create possible worlds in which the time spans between advances is varied according to a gamma distribution function. Taking into account the importance of the use of the diaphragm for the invention of the telescope, the probability that the telescope were built by 1538 for a branching time at 1510 is found to be smaller than 1%. The work shows that one of the important features of computational simulations in philosophy of science is to serve as a consistency check for the intuitions and speculations of the philosopher. (shrink)

The authors aptly describe their work as a narrative. The protagonists are sometimes great thinkers, sometimes ideas about literary criticism, sometimes different approaches to literature whose intermingling histories are here described. At the same time the authors are in quest of a varied and many-sided presentation of the nature and writing of literature. Accordingly the insights of philosophers and literary men are stressed more than the consistency of their opinions; understanding is valued more highly than the certainty of systems. (...) In this way classical texts are placed in an interesting new light and lesser known episodes of this history are brought to life.--R. G. S. (shrink)

This paper explores the history of ELIZA, a computer programme approximating a Rogerian therapist, developed by Jospeh Weizenbaum at MIT in the 1970s, as an early AI experiment. ELIZA’s reception provoked Weizenbaum to re-appraise the relationship between ‘computer power and human reason’ and to attack the ‘powerful delusional thinking’ about computers and their intelligence that he understood to be widespread in the general public and also amongst experts. The root issue for Weizenbaum was whether human thought could (...) be ‘entirely computable’. This also provoked him to re-consider the nature of machine intelligence and to question the instantiation of its logics in the social world, which would come to operate, he said, as a ‘slow acting poison’. Exploring Weizenbaum’s 20th Century apostasy, in the light of ELIZA, illustrates ways in which contemporary anxieties and debates over machine smartness connect to earlier formations. In particular, this article argues that it is in its designation as a computational therapist that ELIZA is most significant today. ELIZA points towards a form of human–machine relationship now pervasive, a precursor of the ‘machinic therapeutic’ condition we find ourselves in, and thus speaks very directly to questions concerning modulation, autonomy, and the new behaviorism that are currently arising. (shrink)

Postmodernity's Musical Pasts considers music after 1945 as a representation of concepts such as "historicity" and "temporality". The volume understands postmodernity as a period in which both modernism and postmodernism co-exist. It is attracted to a wider interpretation of "historicity" that focuses on the complex nexus of past-present-future. "Historicity" is understood as leaning closely on "temporality", generally thought of as the linear progression of past, present and future. The volume broadens the absolutist understanding of temporality to include processes which (...) can occur in circular, spiral, transcending and other formations. The book covers an extensive spectrum of topics from classical to popular and neo-traditional musics to concerns of the disciplines of musicology. Such a wide range of topics from both the centre and the periphery of the musicological canon mirrors the eclectic and diverse nature of the postwar era itself. The first section investigates how to understand manifestations of the past in musical composition with regard to time, on the one hand, and with regard to genre, style and idiom, on the other. A second section shows how time and history manifest themselves in art music. A third section takes the contrasts and transitional moments of post-1945 practices further by looking at the temporality of reception from different angles. A final part investigates questions of nostalgia and temporalities of belonging. TINA FR HAUF is Adjunct Assistant Professor at Columbia University, New York and serves on the faculty of The Graduate Center, CUNY. CONTRIBUTORS: Michael Arnold, Susana Asensio Llamas, Georg Burgstaller, Caitlin Carlos, Daniela Fugellie, Tina Fr hauf, John Koslovsky, Lawrence Kramer, Beate Kutschke, Laurenz L tteken, Max Noubel, Joshua S. Walden. (shrink)