In Against the Musicologists (Math. 6), Sextus uses two types of arguments against musicology. Some would argue that a science of music – does not contribute to a happy life, while others deny that such a science has ever been established. Since the respective beliefs that musicology exists and that it benefits those who have mastered it are fine specimens of dogmatism, all Sextus has to do is to set the naysayers and the believers against each other in good (...) Pyrrhonian fashion. If their accounts balance each other out, he can go on to suggest that reasonable inquirers will suspend judgement as to the truth about these matters, while leaving everyday musical practice intact. Against the Musicologists thus lends itself to being read as an attempt to display the Sceptical capacity to motivate suspension of judgement in a specific domain where the Sceptic has detected dogmatic belief. -/- In what follows, I develop a reading of the treatise along these lines. In Section 5.1, I argue that Sextus’ polemical engagement with philosophical musicology sits well with the project of the treatise to which it belongs, and with a plausible understanding of his philosophical position as presented in the Outlines of Pyrrhonism (Pyr.). Then I turn to the two kinds of arguments that are contrasted by Sextus as being ‘more dogmatic’ and ‘more aporetic’ in spirit. After their brief presentation in Section 5.2, explaining the nature of their contrast by pointing to the diverging agendas that they originally served, I give an overview of both as ultimately aiming at epochē in Sections 5.3 and 5.4. Finally, in Section 5.5, I push back against readings that take the treatise to present a deviation from the suspensive outlook. (shrink)

Musicologists have increasingly taken a wide-angled lens on the study of music in society, to explore how it can be intertwined with issues of politics, gender, religion, race, psychology, memory and space. Recent studies of music in connection with society take in a variety of musical phenomena from diverse periods and genres-medieval, classical, opera, rock, etc. This ten-chapter book asks not only how music and society are, and have been, intertwined and mutually influential. It also examines the agents behind (...) these connections: who determines musical cultures in society? Which social groups are represented in particular musical contexts? Which social groups are silenced or less well represented in music's histories, and why? (shrink)

Anglophone musicologists read the cultural theorist Slavoj Žižek more than they read the French psychoanalyst Jacques Lacan, and they are more concerned with Žižekian academia than they are with Lacan’s clinical practice. Two major problems emerge: Lacan is conflated with Žižek, and Lacan is conflated with Kant. As a result, analytic discourse is confused with post-modern academia as well as an eighteenth-century master-discourse on the Sublime. According to the author’s argument, Lacanian musicology is a misnomer, for it in fact (...) refers to Žižekian musicology, and what musicologists call the Lacanian Real is not really Lacanian. The re-branding of the Kantian Sublime and/or the Thing as the Lacanian Real is not necessary; it is a symptom of confusion. The article concludes with a cautious recommendation, pertinent to the study of music and discourses. (shrink)

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...) are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

According to musicologist Christopher Small, the treatment of music in musicology carries fundamentally flawed historical premises. Instead of focusing on music through art „objects“, anything understood as „music“ should be examined on the grounds of its spatiotemporal appearance, as a social activity of musicking and the unfolding event. The emphasis of the verb „musicking“ instead of the substantive „music“ signifies a reinterpretation of a static into a processual concept. According to Small, musical meaning is formed with regards to the time (...) and space of the immersive situation and the bodily encounter of participating individuals. This processual intervention over existing musical concepts through reinterpretation as „musicking“ opens the door to a broader philosophical scope. In order to approach two seemingly opposed interpretations of the subject matter mentioned above, I will attempt a reinterpretation of Small with reference to Arthur Schopenhauer’s concept of the „Will“, but with a more detailed emphasis on the expanded principle of the „Dyonisian“ and „Apollonian“ as suggested by Friedrich Nietzsche. I will further suggest some criteria for interpretation of any potential „musicking“ through several points of contention between Small’s musicology and Nietzsche’s philosophy. For this, I will utilize Nietzsche’s philosophical opposition between Being and Becoming serving as foundations of knowledge and art. The suggestion is that, while the entanglement of the Apollonian „image“ and the Dyonisian „rush“ enables the emergence of music as art, the foundation of Small’s „musicking“ lies in the non-ethical character of the Dyonisian—in what lies „behind“ the phenomenon and conceptualization of it. This ultimately questions the implication of music „as“ art, as it suggests that any justification thereof can not be considered outside of the subjective disposition encountering the event, nor beyond the individual disposition emerging within it. „Musicking“ doesn’t emerge with any cultural, social, symbolic or teleological purpose, but attains any one of these as soon as it’s designated „as-such“ by those principles that enable the concept to emerge in the first place. This, despite its broadly influential treatise, ultimately reveals the limits of Small’s „musicking“. (shrink)

This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a rich (...) tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform. (shrink)

This book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognize? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. The author is both philosopher and musicologist (...) and uniquely combines the perspectives of both disciplines. Exploring the philosophical questions of mental representation in the relatively neglected, nonverbal domain of music, this study is a major contribution to the philosophical understanding of music perception and cognitive theory. (shrink)

Porphyry's Commentary, the only surviving ancient commentary on a technical text, is not merely a study of Ptolemy's Harmonics. It includes virtually free-standing philosophical essays on epistemology, metaphysics, scientific methodology, aspects of the Aristotelian categories and the relations between Aristotle's views and Plato's, and a host of briefer comments on other matters of wide philosophical interest. For musicologists it is widely recognised as a treasury of quotations from earlier treatises, many of them otherwise unknown; but Porphyry's own reflections on (...) musical concepts and his snapshots of contemporary music-making have been undeservedly neglected. This volume presents the first English translation and a revised Greek text of the Commentary, with an introduction and notes designed to assist readers in engaging with this important and intricate work. (shrink)

Although popular music is increasingly recognized as an important area of inquiry in philosophy of art, many organizing principles have been taken over from other fields without scrutiny. This article selects heavy metal as an example of the value of applying philosophy of criticism to discourse about popular music. Metal is now in its fifth decade, and its combination of longevity and diversity have made it an attractive topic in popular music studies. In accounts of metal by musicologists and (...) social science researches, metal is almost always referred to as a genre of music, and the genre is said to unify diverse metal subcultures, which are associated with diverse styles of metal. An examination of the concepts of genre and subculture as they are typically understood in popular music studies generally, and in metal studies in particular, suggests that they do not function to delineate metal as a unitary category. However, contemporary philosophy of art provides several theoretical principles that provide criteria for identifying a unified genre. The relevant theories are historical definitions of art and Kendall Walton's account of style. Viewed in terms of these philosophical developments, metal should be seen as an evolving assemblage of related styles, only some of which are associated with fans who constitute a subculture. However, it is not a "category" in Walton's sense of that term. Video abstract. (shrink)

This book collects a renowned scholar's essays from the past five decades and reflects two main concerns: an approach to logic that stresses argumentation, reasoning, and critical thinking and that is informal, empirical, naturalistic, practical, applied, concrete, and historical; and an interest in Galileo’s life and thought—his scientific achievements, Inquisition trial, and methodological lessons in light of his iconic status as “father of modern science.” These republished essays include many hard to find articles, out of print works, and chapters which (...) are not available online. The collection provides an excellent resource of the author's lifelong dedication to the subject. Thus, the book contains critical analyses of some key Galilean arguments about the laws of falling bodies and the Copernican hypothesis of the earth’s motion. There is also a group of chapters in which Galileo’s argumentation is compared and contrasted with that of other figures such as Socrates, Karl Marx, Giordano Bruno, and his musicologist father Vincenzo Galilei. The chapters on Galileo’s trial illustrate an approach to the science-vs-religion issue which Finocchiaro labels “para-clerical” and conceptualizes in terms of a judicious consideration of arguments for and against Galileo and the Church. Other essays examine argumentation about Galileo’s life and thought by the major Galilean scholars of recent decades. The book will be of interest to scholars in philosophy, logic, philosophy of science, history of science, history of religion, philosophy of religion, argumentation, rhetoric, and communication studies. (shrink)

Theodor Adorno was a German philosopher, sociologist and musicologist and was a leading member and eventually director of the Frankfurt Institute for Social Research. Adorno studied an extraordinary range of subjects during his lifetime – from dialectical logic and the syntax of poetry to newspaper astrology columns and the Hollywood studio system – and he left a significant mark on each of the many disciplines in which he worked. His philosophically sophisticated rethinking of Marxian materialism has been central to much (...) European and American social theory in the latter half of the twentieth century and his studies of mass culture, radio and television were foundational documents for the discipline of cultural studies. This collection charts the most important moments in the international reception of Adorno's thinking, covering the wide range of disciplines his studies touched upon, including literary criticism, musicology, aesthetics, epistemology and metaphysics. There is also a great deal of important scholarship and commentary on Adorno in German that remains untranslated into English. This set will therefore provide Anglophone scholars with the first English translations of these important works. (shrink)

Music, literature, history. These things are not quite alike. But in Europe, before the advent of recording machines that made it possible for sounds to be recorded and played back, the three activities relied on the same technology of preservation. They were kept in/as books. Bookishness, in European and colonial imaginaries, was an often-idealized, powerful means of keeping things from slipping away. An understanding of bookish things as a repository can be evinced in laws that required preserving a copy of (...) newly published literary works and music for the benefit of posterity; or in popular novels where a book featured as the chronicler (both recorder and narrator) of its own adventures, beyond the lifespans of individual users. Scholars have paid specialist attention to the ontological differences among music, literature, and history when they are kept as books. Discipline-specific trainings and conversations tend to emphasize how different these objects and practices are. Yet focusing on their shared mode of bookish preservation offers other rewards. Our multi-authored article is a creative experiment in bringing together musicologists, literary scholars, and historians to test the potential, for our own fields and with implications for other humanities disciplines, of foregrounding this technological convergence. We propose the more capacious categories of bookkeepers (people who keep things as books) and cultures of note-taking (whether glossing a textbook or notating music) as fruitful avenues to avoid writing the artificially separate histories of creation versus consumption, public versus personal, authoritative versus amateurish, or artistic versus documentary practices. Music, broadly conceived, and the nineteenth-century album (a book of blank pages to keep verses, music, memories, and many more things) serve as the starting point for our reflections. Both exhibit a tangential connection to the normative codes of what Roger Chartier called “the order of books.” In considering actors/artifacts/acts at the very margins of textuality, or existing in a perverse relationship with bookishness, our aim is to redraw the knowledge-making structures we use to investigate our objects of study, calling attention to the intermedial and social practices, and cultures of remembrance, in which they are historically imbricated. (shrink)

Does it make sense to refer to bird song - a complex vocalization, full of repetitive and transformative patterns that are carefully calculated to woo a mate - as art? What about a pack of wolves howling in unison or the cacophony made by an entire rain forest? Redefining music as "the art of possibly animate things," Musical Vitalities charts a new path for music studies that blends musicological methods with perspectives drawn from the life sciences. In opposition to humanist (...) approaches that insist on a separation between culture and nature--approaches that appear increasingly untenable in an era defined by human-generated climate change--Musical Vitalities treats music as one example of the cultural practices and biotic arts of the animal kingdom rather than as a phenomenon categorically distinct from nonhuman forms of sonic expression. The book challenges the human exceptionalism that has allowed musicologists to overlook music's structural resemblances to the songs of nonhuman species, the intricacies of music's physiological impact on listeners, and the many analogues between music's formal processes and those of the dynamic natural world. Through close readings of Austro-German music and aesthetic writings that suggest wide-ranging analogies between music and nature, Musical Vitalities seeks to both rekindle the critical potential of nineteenth-century music and rejoin the humans at the center of the humanities with the nonhumans whose evolutionary endowments and planetary fates they share. (shrink)

How can an abstract sequence of sounds so intensely express emotional states? In the past ten years, research into the topic of music and emotion has flourished. This book explores the relationship between music and emotion, bringing together contributions from psychologists, neuroscientists, musicologists, musicians, and philosophers .

In his 2013 book Kiku hito (English translation Homo audiens, 2022), composer and musicologist Jo Kondo (近藤譲) outlines his interpretation of music as the interrelationship between notes, each of which ‘has its own entity and life’ and yet is only meaningful in relationship with other notes, an assertion which echoes 15th-century nō (能) composers Zeami’s (世阿弥) and Zenchiku’s (禅竹) writings on the life and death of each note in a nō performance. Though in his own writing Kondo restricts himself to (...) the tradition of western aesthetics, in a 2023 interview he acknowledges that his system of musical interpretation is rooted in the Kegon (華厳) Buddhist concept of Indra’s Net (which illustrates the idea of ultimate reality as the ‘unimpeded interpenetration of phenomena and phenomena’ jiji muge hokkai 事事無礙法界). In this experimental paper, I will explore the aesthetic implications of this idea: is a listener’s interpretation of the relationships between sounds in a musical work (‘work’ defined as broadly as possible, inclusive of all forms of deep, active listening, from contemporary sound art to nō to Dōgen (道元) hearing a sūtra in the voices of monkeys) merely a metaphor for the ‘unimpeded interpenetration of phenomena and phenomena’, or is it an example of it? What are the implications for the interpretation of all types of music and sound art if sounds – like other nonsentient (hijō 非情) phenomena such as water and mountains – have Buddha-nature (busshō 仏性)? And does this interpretative frame have ethical implications for interpreters – listeners, composers, and performers – of music and sound-art in this age of imminent environmental collapse?. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 108-112 [Access article in PDF] Themes in the Philosophy of Music, by Stephen Davies. New York: Oxford University Press, 2003, 283 pp., hardcover. Over the last few decades, there has been a remarkable output of several books and articles on the philosophy of music. Stephen Davies is one of the leading contributors to this growing literature in the Philosophy of Music. This (...) important and thought-provoking volume collects fifteen of Davies's essays on various philosophical issues pertaining to music such as ontology, performance, expression, and appreciation. With the exception of two, all of the essays have been published before. There is not enough space here to do justice to all fifteen essays, and thus I focus on those that strike me as most important and where I disagree with Davies.First a word about the book's relevance to aesthetic education and itspotential for use in aesthetic education. Davies's book strikes me as having immense potential for aesthetic education. I can easily see the various essays as being of great value in educating performers, composers, musicologists, and music lovers about various aspects of performance and appreciation especially. Here is a brief list of questions pertinent to aesthetic education that Davies's work raises and addresses: Why is performance on authentic instruments important? What is involved in understanding musical works? Is technical training necessary to appreciate musical works fully? To what degree can the performer create her own interpretation of a work, and how much does the score constrain her?Now on to the essays themselves. The first part of Davies's volume concerns ontology, and the first essay "John Cage's 4'33": Is it Music?" addresses this very famous musical work. Davies argues that 4'33" is not music but rather a theatrical piece about music because it does not exclude anysounds as being ambient noise, as Davies thinks musical works should do. Davies does not deny, however, that this work is an artwork. He thinks instead that the work is not organized sound, as all music must be, for it does not exclude any sonic events during performance as ambient; even sounds made by the performer of this work, claims Davies, are mistakes and not ambient. Thus neither Cage nor the performer organize (select, appropriate) sounds. Davies also suggests that while Cage wants us to have an aesthetic interest in the sonic properties of 4'33," he failed in his intention for we hear the work instead in musico-historical terms.Contrary to Davies's view, one mustwonder if 4'33" just is a theatrical piece about music, not a musical work as such. Unlike theater and theatrical works which are meant to be both seen and heard, Cage's work is only meant to be heard. Davies's view would seem to neglect this important auditory aspect in claiming that the work is just theater not music. Besides, why must all musical works exclude some soundsas ambient, and why might Cage's [End Page 108] work not be an exception to this? Why couldn't 4'33" be a limiting case of music, at one extreme of a range of musical works? As for Davies's claim that any sounds made by the performer who is supposed to be silent are mistakes not ambient noise, one must wonder if Cage intended instead that sounds made by the performer (such as musical tones or coughs) be bracketed by listeners as not part of the work while sounds made by the audience are part of the work, thus undermining the audience-performer distinction. Moreover, against Davies's claim that Cage intended us to have an aesthetic interest in sonic properties, I submit that Cage was Zen-influenced and not committed to such dualisticaesthetic concepts (such as beautiful vs. ugly) or any concepts for that matter, whether musico-historical or not. Instead, Cage intended us to simplylisten, with an open mind and openears, without adhering rigidly to concepts or hearing 4'33" in musico-historical terms, difficult as that may be. Finally, there... (shrink)

Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ (...) and, on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)

This article comprises a lyrical exposition of the ‘in-betweenness’ that underlies pedagogical relations and musical practice. The latter comprises making, performing, teaching, and indeed listening to music, phenomena encapsulated in the term ‘musicking’, first coined by the musicologist Christopher Small in 1999. Improvisatory practice is inscribed into the very process of writing as a means of mainstreaming the power of connection; and troubling the notion of seeking as the hallmark of ‘poor pedagogy’ (Masschelein, Citation2010) or weak education (Ingold, Citation2018). Drawing (...) inter alia on a scintillating improvisational performance by the musician Bobby McFerrin, we argue that pedagogical relations, construed as the art of encounter, are about finding rather than seeking. Finding implies experiencing a sense of connection, ‘that feeling of landing in the present tense’, of being immersed in whatever occupies you, paying close attention to the details of experience’ (Tempest, Citation2020, p. 5). This is a far cry from education in a major key, the secure territory of understanding that is premised on codified knowledge that pre-empts attention or marginalises it altogether. We draw on examples from music education to explore the deleterious effects of power dynamics. We end with a rallying cry for education as a common chorus. (shrink)

What is creativity? One new idea may be creative, whereas another is merely new: What's the difference? And how is creativity possible? These questions about human creativity can be answered, at least in outline, using computational concepts. There are two broad types of creativity, improbabilist and impossibilist. Improbabilist creativity involves novel combinations of familiar ideas. A deeper type involves METCS: the mapping, exploration, and transformation of conceptual spaces. It is impossibilist, in that ideas may be generated which – with respect (...) to the particular conceptual space concerned – could not have been generated before. The more clearly conceptual spaces can be defined, the better we can identify creative ideas. Defining conceptual spaces is done by musicologists, literary critics, and historians of art and science. Humanist studies, rich in intuitive subtleties, can be complemented by the comparative rigour of a computational approach. Computational modelling can help to define a space, and to show how it may be mapped, explored, and transformed. Impossibilist creativity can be thought of in “classical” Al terms, whereas connectionism illuminates improbabilist creativity. Most Al models of creativity can only explore spaces, not transform them, because they have no self-reflexive maps enabling them to change their own rules. A few, however, can do so. A scientific understanding of creativity does not destroy our wonder at it, nor does it make creative ideas predictable. Demystification does not imply dehumanization. (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

The sciences aim to get at the truth about the nature of the world. Do the humanities have a similar goal—namely, to get at the truth about things like novels, paintings, and historical events? I consider a few different ways in which the humanities aim at the truth about their objects, in the process giving rise to epistemic goods such as knowledge and understanding. Two works in the humanities are used as test cases: the historian Tyler Stovall’sParis Noir (1996) and (...) the musicologist Susan McClary’s article, ‘The Blasphemy of Talking Politics During Bach Year’ (1987). (shrink)

The problems and the history of contacts between distant continents in bygone ages and long before the age of fast and easy travel, have always fascinated both professional scholars and the interested public. Was ancient history really nothing but the history of co-existing and isolated geographic, cultural and political “islands?” Already at school we learned too much about migrations of peoples, economic contacts, influences on art styles, conquests, and the rise, expansion and fall of empires to believe that. The (highly (...) improbable) theory that certain archaeological finds in America suggest, or even prove, Mediterranean influence (e.g., the arrival of Phoenician ships), or the alleged Viking discovery of America centuries before Columbus, or Thor Heyerdahl's adventurous journey to prove South American influence on remote Pacific islands did not fail to cause widespread interest and even excitement (although many scholars still feel that Heyerdahl's epic adventure, thrilling as it is, failed to prove what it set out to prove). The island of Madagascar is pretty close to the African continent, but its language exhibits more points of contact with Polynesian than with African tongues. And the blow-bellows used by Malagache smiths are similar to those used in Malaysia and unlike those known to African metalworkers. Clearly the Polynesians, those great ancient mariners, sailed further than originally seemed likely. Musicologists studying the cantillation of the Hebrew Bible in the liturgy of the ancient Jewish communities on the Malabar coast in India discovered to their surprise that it was similar to the cantillation not of the Babylonian but of the Yemenite Jews! This surprise was, of course, no surprise to those who knew anything about trade-winds and shipping routes between South Arabia and the Indian coast. Historians of religion, even more than general historians, studying the spread and expansion of religious ideas and movements have realised long ago that the beginning of all wisdom is a basic knowledge of economic geography. (shrink)

This volume, the first to tackle Heidegger and music, features contributions from philosophers, musicians, educators, and musicologists from many countries throughout the world, utilizes Heidegger’s philosophy to shed light on the place of music in different contexts and fields of practice.

Approaches to Meaning in Music presents a survey of the problems and issues inherent in pursuing meaning and signification in music, and attempts to rectify the conundrums that have plagued philosophers, artists, and theorists since the time of Pythagoras. This collection brings together essays that reflect a variety of diverse perspectives on approaches to musical meaning. Established music theorists and musicologists cover topics including musical aspect and temporality, collage, borrowing and association, musical symbols and creative mythopoesis, the articulation of (...) silence, the mutual interaction of cultural and music-artistic phenomena, and the analysis of gesture. Contributors are Byron Almén, J. Peter Burkholder, Nicholas Cook, Robert S. Hatten, Patrick McCreless, Jann Pasler, and Edward Pearsall. (shrink)

There appear to be only four troubadour songs which have not been edited at least diplomatically at one time or another. They were unknown until first discussed in 1935 by the Catalan musicologist Higini Anglès in his monumental treatise, La música a Catalunya. He described the sources, transcribed three of the four melodies with the first stanzas of the texts, and included photographs, which unfortunately are almost illegible. Despite his promise that the texts would soon be edited by a colleague, (...) no edition ever appeared, and I propose now to publish this difficult and surprising material for the first time. I argue that all four songs are refrain songs, probably recorded directly from performance. (shrink)

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. The book offers a wide range of international perspectives from prominent musicologists, philosophers and composers.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. Part III offers creative perspectives, with new essays and interviews from important contemporary composers. A concluding essay by Alastair Williams 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. (shrink)

In the tradition of African musicologists who have pioneered serious scholarly study of African music, notably J.H. Kwabena Nketia, this extended essay considers the subject of aesthetic value in African music, in particular, in the Ewe and Akan (Ghanaian) traditions. It examines African - as compared with Western - ideas about musical experience and its appeal; and music in relation to values, morality and human emotion.

This collection brings together philosophers, sociologists, musicologists and students of culture who theorize music through cultural practices as diverse as opera and classical music, jazz and pop, avant-garde and DIY musical cultures, music festivals and isolated listening through the iPod, rock in urban heritage and the piano in East Asia.

In lieu of an abstract, here is a brief excerpt of the content:THE ORIGIN OF LANGUAGE: VIOLENCE DEFERRED OR VIOLENCE DENIED? Eric Gans University ofCalifornia—Los Angeles ~P ecently I was asked to review applicants at UCLA for a XVpostdoctoral fellowship. The competition was based, along with the usual CV and recommendation letters, on a project proposal relevant to this year's topic: the sacred. There were some sixty applicants working in the modern period since 1800; these new PhD's included literary scholars, (...) philosophers, historians, a few anthropologists, even a musicologist. I was taken aback to discover that not a single one ofthese projects made reference to the name or ideas of René Girard. When I remarked on this to the director ofthe program, a professor ofEnglish with a solid background in philosophy and literary theory, he offered the explanation that these ideas had had a vogue twenty years ago, but were no longer in fashion today. However exaggerated and shortsighted it may be, I take this judgment on the part ofan astute and reasonably unbiased observer as a call to action. Like it or not, the academic world, the university, is the center of American intellectual life. The ideas that motivate COV&R emerged from the university and, however powerful they may become and remain outside it, it is important for their survival that they retain their visibility within it. Thus it is important that we put aside any differences that may divide us in the pursuit ofthis goal that I know we all share. I will return to this point at the end of my talk. What is the origin of language? This question is not only one of formulating hypotheses about the origin, but ofdeciding what it is that we mean by the question itself. Recent advances in neuroscience, cognitive 2 Eric Gans science, speech physiology, paleontology, primatology, linguistics, and related fields make this question both easier and harder to answer than when I wrote The Origin ofLanguage over twenty years ago. I can say at the outset that nothing I have learned in the course of my research dissuades me as a humanist from venturing into an area in which the dominant voices are no longer those of linguists and prehistorians, but those of neuroscientists. As they have always done, scientific advances permit those concerned with the human, "anthropologists" in the broadest sense of the term, to redraw the boundaries of the domain within which anthropological reflection truly belongs. This position is not one widely held by the scientists themselves, who generally share an Enlightenment view for which all thinking not subject to scientific method, particularly that of religion, is a primitive survival condemned to, and deserving of, the fate of alchemy and Aristotelian cosmology. In this view, my—I think I can say, "our"—kind ofanthropology is not a respectable field of inquiry at all. The hypothetical attribution of an originary function to an event or scene considered memorable in itself is not-yet-understood as a necessary methodological tool in the human sciences. Yet a scientific method expanded to include events would not have to put religion within brackets as an expression of the irrational or explain it by an ad hoc theory of psychological expediency, but would begin to integrate within itself the understanding of the human that it has been the historical function of religion to provide. I do not think we need accept the Enlightenment vision ofhistory as the story ofthe continued advance ofscience into domains progressively vacated by unscientific thought. No doubt we no longer rely on religion to supply the basis for cosmology or for natural science in general. And as our knowledge ofthe brain continues to progress, it may no longer be necessary to rely on metaphysical philosophy in order to understand the processes of language and thought. But human culture is not centrally concerned with natural phenomena or even with logic or linguistic structure. It is concerned with the regulation ofhuman interaction, with ethics, and however much science can help provide ethical thought with options, it can never usurp its central cultural function. This last point is usually expressed by the old saw that you can't get to "ought" from "is." Science tells us how it is, not how... (shrink)

It is argued that Beethoven used a system of numbers to guide aspects of many of his works, especially major ones. The numbers manifest themselves in the number of notes in a melody and/or of bars in a work or part of it, in groupings and numberings of works of a given kind, and in his deliberate choice of Opus numbers. They are not only small ones such as 3 , which of course turn up frequently anyway; larger ones are (...) prominent, particularly 27, 30, 32 and 33. The interpretation of the numbers was not his own innovation, but came largely from Christian and Masonic traditions in Austria at that time; the modes of his adhesion to those movements is appraised. The thesis confronts the apparent fact that Beethoven was very bad at arithmetic; consideration of this matter involves the psychology of arithmetic. It also faces a remarkable level of modern ignorance, including among musicologists, of numerology and of its methods of research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 13.1 (2005) 95-98 [Access article in PDF] Response to Frede V. Nielsen's "Didactology as a Field of Theory and Research in Music Education" Sophie Haroutunian-Gordon Northwestern University Let me begin by acknowledging what is about to become obvious: I am not a musicologist, music educator, or a philosopher of music education. I am, however, a philosopher of education and a devoted student of music, (...) so I found Frede Nielsen's paper both intriguing and rewarding. It is intriguing because it positions the theoretical study of music education—what he calls "didactology"—in relation to the practice of teaching music and exemplifies, if you will, the practice of didactology. As a philosopher, and one who has worked at philosophy of science as well as philosophy of education, I became intrigued by the conceptual ground-clearing and ground-construction that Nielsen undertakes in his paper.I found the paper rewarding for two reasons. First, it is about music—at least I think it is about music, and music is about my favorite topic. Like many good works on aesthetic subjects, it seems to offer another way into a beloved yet ultimately mystifying domain and, thus, another glimpse into the unfathomable. Second, the paper offers a complex and rigorous analysis. I had fun wading through its parts and beginning to view them in relation to one another. I think that I have begun to understand not only the difference between didactics and didactology but also something about the contribution the latter might make.So to begin these remarks, let me offer a brief overview of some key points in the paper. I will then go on to raise a question or two with the hope that these will prompt Nielsen to further elaborate his ideas.To begin, Nielsen separates the topic of music pedagogy into two parts—the [End Page 95] normative and the descriptive. He defends both the study of theory and the study of practice as useful for understanding the subject of music pedagogy. He then defines the term "didactology" as "the theory of didactics, especially the theory of the content, aim, and rationale of education," and he defines "didactics" as planning and decision-making related to the practice of teaching. He tells us that didactology, though theoretical, is related to practice, that while it is descriptive rather than prescriptive it assumes values, that it "implies a view of science and the subject—the subject of music and the music itself." A didactological statement is a scientific statement and its truth is judged according to criteria for scientific truth. In summary, according to Nielsen: It is the task of and the object area of didactology in relation to the subject of music to describe, analyze, problematize, and develop intended, actual, or possible issues concerning music education as well as its conditions with special regard to the content, aims, and rationale of the education. Can the didactology of music be an independent science? The answer seems to be yes. As an illustration of the claim, Neilsen presents us with four levels of didactological reflection. The four levels, from top to bottom, are, fourth, reality (natura)—the "inner" and "outer" aspects—which refers to the experiences of hearing/understanding and performing the music; third, the musical phenomena (ars)—the music itself (the musical phenomena include, it seems, the social and existential contexts in which the music occurs); second, the theory that offers a disciplined or systematic explanation of the musical phenomena (scientia), that is, musicology (the theory envisions the musicology—the explanation of the musical phenomena—in relation to, for example, the theory and practice of teaching the music itself); and first, the didactic practices and didactological principles (didactica) that serve as the basis for determining "the content, aim, and rationale of teaching and learning music."Now despite the elegance of the typology here, I find myself wondering about two things. First, what is the subject of Nielsen's analysis? He tells us that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Deborah Bradley, “Oh that Magic Feeling! Multicultural Human Subjectivity, Community, and Fascism’s Footprints”Marja HeimonenDeborah Bradley has written a most interesting paper that is concerned with anti-racism pedagogy and significant musical moments. Her study has a moral and an ethical dimension; the style of writing is fresh and honest, and she is deeply involved in her important theme. In addition, she is able to explore both sides of (...) the same coin: how music education may support not only anti-racism but also fascism.The approach might be characterized as socially and politically oriented philosophical research. I think that it is most important to shed light on philosophical and theoretical concepts and make them clearer through practical examples, and this is how Bradley explores her research subject. The theories and concepts she uses, such as the concept “multicultural human subjectivity,” are clarified not only by theoretical exploration but also through the personal experiences of human beings particularly interviews of choir members.A more coherent structure, and a focus on a theme, might have helped the writer to go deeper in her research subject, but in that case, the paper would have very probably lost its mission for music educators: the promotion of anti-racism as part of critical pedagogy, not only theoretically but also in practice. Moreover, the structure of the paper and its philosophical argumentation might have been clearer if the writer had focused just on the first theme in her paper: the positive effects of music education, especially a world choir music curriculum, argued to promote both self-understanding (connected with identity) and tolerance between different kinds of human beings. But, the writer also decided to explain [End Page 85] the darker side of the same phenomenon, music and music education used for questionable instrumental purposes and ideologies; for promoting fascism, for instance.I think that this turning point is indeed fascinating and it sheds light on the multiple functions of music education in our societies. Music and education in Nazi Germany is taken as an example, but it is not only the specific historical circumstances, the Third Reich, that demonstrates these problems: “freedom” and “democracy” can be interpreted in various ways, and creating “better people” may refer to different kinds of educational aims also in our multicultural world of today. What should music educators do? Should music education be separated from all kinds of social aspects related to moral and ethical education?Bradley raises questions rather than gives answers, which is as valuable as aiming at finding one right answer (that may not exist). Of course, music’s autonomy could be one basis for music education: the aim of music educators could be to teach children to analyze musical structures and to understand musical works cognitively. A Kantian view of pure art, aesthetic experience, morality and beauty, or excellence as the aim of artistic activity might also be taken as an aim in music education. Following these views, the choir director should rather train the choir members to sing purely in rhythm than to concentrate on authentic emotions, promoting their growing into morally conscious and ethically responsible human beings. Philosophically, the debate between an aesthetic approach and a more pragmatic (praxial) one might be found behind the questions addressed in this paper,1 although Bradley rather refers to the German philosopher Theodor W. Adorno’s ideas on music education.Adorno, who lived in the shadow of Hitler’s Germany and Stalin’s Russia, is a multidimensional sociologist, musician, composer, musicologist, and philosopher, whose works have been interpreted in various ways: actually, he not only defends music’s autonomy, but simultaneously argues that the ideal of music’s self-containment is just an illusory projection (of a bourgeois subject). In other words, his dialectical method aims at keeping opposing views together, and his ideas—rooted in critical social theory—have become a source for new critical musicology.2 Adorno was not a music educator or a pedagogue in instrumental or vocal music, and his view of teaching contemporary music for children could, in my view, be regarded almost as questionable as the German views he criticized as fascist: the aim to educate amateur musicians... (shrink)

Magdalena Krasińska A Work of Music in Roman Ingarden’s AestheticsThe theme taken in this article is an ontological concept of the musical work of Roman Ingarden developed on the basis of phenomenological aesthetics. According to the eidetic reduction Ingarden rejects any colloquial opinions about how the existence of a musical composition, so that he holds that musical work is not the same nor the mental experience, or the performance, or to the music notations. Making a critique of the idealistic, psychologistic (...) and materialistic positions to explain how the existence of the musical work, Ingarden classified it as a object of purely intentional, where the musical notation is the ontological basis. Currently notation don’t allow for consolidation of all the moments of the work, especially not sound moments, so musical composition as every being intentional, is the scheme required to complete and define more precisely where are the ontological gaps; each performance of a musical work is the complete of potential spaces, specification of works. A few comments on so constructed theory publishes musicologist Zofia Lissa. The main objection against Ingarden is the fact that his concept aspires to be universal, while he created it solely on the basis constituted in the scores ‘classical’ works of modern European music, while ignoring other musical phenomena, such as avant-garde music or folklore. Finally raised is a matter of the ontology of newest pieces of music, belonging to the so-called popular music, that do not have ontological basis in the form of musical notation, what in view of the Ingarden’s theory does problematic the issue of their identity. Keywords: ontological concept of the musical work, phenomenological aesthetics, Roman Ingarden, identity of the musical work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 15.2 (2007) 177-179MuseSearchJournalsThis JournalContents[Access article in PDF]Reviewed byLise Vaugeois University of TorontoHildegard C. Froehlich, Sociology for Music Teachers:Perspectives for Practice (Upper Saddle River, NJ: Pearson Prentice Hall, 2007)Hildegard Froehlich's book, Sociology for Music Teachers, provides an important and much needed resource for undergraduate and advanced music education programs. Music students tend to see their interests and goals within a narrow framework, one that is (...) reinforced by the intensely personal nature of music-making as well as the material and psychological separation that inheres from our location in physically detached faculties of music. Froehlich's book provides a resource that directly addresses this tendency towards narrowness by inviting students to engage with sociological questions as they affect us personally, professionally, and in the context of questions much larger than ourselves.The book is organized into eight chapters, each of which explores a particular set of questions and introduces related studies and resources. She recommends that students actively engage with the material and provides suggestions for group discussion throughout the book. Each chapter introduces a comprehensive survey of related questions and the body of literature that investigates these questions. Thus, it can be used as the basis to structure an undergraduate course as well as a literature guide for graduate students.Undergraduate students are often resistant to exploring ideas beyond their [End Page 177] immediate conceptions of themselves as musicians and Froehlich addresses this resistance by discussing concepts about identity formation in the first chapter. Students are thus asked to consider a series of questions they can easily recognize as relevant to their own lives. She begins with the personal and the familiar and then brings in ideas that broaden the range of inquiry, gradually introducing concepts that challenge many of our assumptions about the meaning of music in different people's lives; the range of meanings possible within sounds and musical practices; the role of public education and various ways that music education functions within this larger system, and important questions about how we might conceive of ourselves as transmitters of extant cultural values or transformers of values and social relations.The chapter headings give an indication of the range of material introduced in her text: "The Performer and Teacher in You: A Matter of Identity"; "Teaching as Work: What Educational Sociologists Tell Us"; "Music Learning and Teaching as Socially Situated Acts"; "Music and Social Context: Macro, Micro, and Interactive Perspectives in Selected Texts on the Sociology of Music"; "Musical Meaning and Social Context: Thoughts by Selected Ethnomusicologists and Cultural Theorists"; "Sociology of Education: Major Theories and Their Connection to School Practice"; "Application of Sociological Constructs in Education to Music Schooling"; "Conclusion: You and the Big Picture." Each chapter gives a historical survey of the literature pertaining to the area of inquiry plus an introduction to contemporary writing. Competing discourses are introduced throughout.Froehlich's survey of disciplines that intersect with sociology is quite comprehensive. Amongst other disciplines, she includes foundational literature from musicology, philosophy of music education, sociology of education, and social psychology. The book is thus valuable as a resource for its bibliography alone. She also includes a glossary of terms, another feature that makes the book particularly helpful to undergraduate students. One writer I was surprised not to see included is Jacques Attali. His theoretical arguments on the relations of musical culture to economy provide a significant lens for considering the influence of music on social development and would have been an appropriate addition to the chapter on "Music and Social Context." I also missed work by musicologists and human geographers who have explored the role of race in music and music education.Related to these missing discourses, I have a major concern that is less a critique of Froehlich than an acknowledgement that this position has not yet been given sufficient consideration in our field, and to which Deborah Bradley refers as the "normative centering of whiteness."1 Froehlich bases her work on the assumption that her audience consists of a... (shrink)

The importance of politics in the fashioning of opera has hardly gone unnoticed among specialists of the genre and musicologists in general. In the works of Verdi and Wagner's Ring, politics has been analyzed to near exhaustion, and as John Bokina admits in his introduction, “he found that [he] had nothing new to say about these subjects” (p. 3). So why this book? First, because the author, an opera-loving, professional political scientist, wanted to write a book “that he had (...) always wanted to read”; one that would uncover in opera the major classic concepts of political philosophy from Plato, to…. (shrink)

Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. Stefan Lorenz Sorgner, a philosopher, and Oliver Fürbeth, a musicologist, here fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. _Music in German Philosophy_ includes contributions from a renowned group of ten scholars, (...) including some of today’s most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music. The book is prefaced by the editors’ original introduction, presenting music philosophy in Germany before and after Kant, as well as a new introduction and foreword to this English-language addition, which places contemplations on music by these German philosophers within a broader intellectual climate. (shrink)

This book provides a new approach to the intersections between music and philosophy. It features articles that rethink the concepts of musical work and performance from ontological and epistemological perspectives and discuss issues of performing practices that involve the performer’s and listener’s perceptions. In philosophy, the notion of essence has enjoyed a renaissance. However, in the humanities in general, it is still viewed with suspicion. This collection examines the ideas of essence and context as they apply to music. A common (...) concern when thinking of music in terms of essence is the plurality of music. There is also the worry that thinking in terms of essence might be an overly conservative way of imposing fixity on something that evolves. Some contend that we must take into account the varying historical and cultural contexts of music, and that the idea of an essence of music is therefore a fantasy. This book puts forward an innovative approach that effectively addresses these concerns. It shows that it is, in fact, possible to find commonalities among the many kinds of music. The coverage combines philosophical and musicological approaches with bioethics, biology, linguistics, communication theory, phenomenology, and cognitive science. The respective chapters, written by leading musicologists and philosophers, reconsider the fundamental essentialist and contextualist approaches to music creation and experience in light of twenty-first century paradigm shifts in music philosophy. (shrink)

This article explores the continuities and discontinuities of pre-Revolutionary intellectual traditions in 1920s Soviet culture and the Stalin-era cultural revolution. Through examination of the pre-revolutionary philosophical legacy underpinning Soviet musicological theory, I demonstrate that there are decisive features, such asSoviet Prometheanism, that characterize the musicology of the 1920s that both underline and differ from the pre-revolutionary philosophy of music and the musicology of the 1930s. I offer the basic outlines of aSoviet cultural theory of musicformulated by Russian music critic, historian, (...) composer and musicologist Boris Asafiev (1884–1949) in the 1920s. Explaining and describing what I mean by a particular cultural theory of music in the Soviet context forms the core issue of my article. (shrink)

Even though Slavoj Žižek has written many words about music without really saying much about it, his work nevertheless contains much that for the philosophically minded musicologist, or for the musically minded philosopher, can stimulate thinking. For the author of this article, for example, some of the ideas presented in Žižek’s 2006 The Parallax View have stimulated thinking about the possibilities of taking a comparable approach—that is, a metaphorically ‘parallax’ approach that involves considering an object of attention alternately from more (...) than one perspective—not just to music but to sounds in general. Along with summarizing Žižek’s views on music per se, “Focused Listening: The Aesthetics of Parallax” explores various ways in which persons in the presence of a single ‘sound object’ might listen to, and thus perceive and hear, that sonic phenomenon. (shrink)

This essay explores ways in which musicologists might extend work undertaken by humanities scholars in the interdisciplinary field of trauma studies that has highlighted the centrality of traumatic experience to modernist creativity. It is focussed around a case study of a musical composition that represents the emotional aftermath of a traumatic event, the Sixth Symphony of the Soviet composer Nikolay Myaskovsky. A central concern is to demonstrate how the symphony’s musical symbolism is strikingly evocative of typical features of post-traumatic (...) mentation, such as dissociation and emotional numbing, and the inhibition of the ability to mourn. It closes by considering the potential implications of the findings for understanding work by other modernist composers. (shrink)

Philosophers on Music: Experience, Meaning, and Work presents significant new contributions to central issues in the philosophy of music, written by leading philosophers working in the analytic tradition. The issues tackled include: the question of what sort of thing a work of music is; the nature of the relation between a musical work and versions of it; the nature of musical expression and its contribution to musical experience; the relation of music to metaphor; the nature of musical irony; the musical (...) status of electro-sonic art; and the nature of musical rhythm. Aestheticians, musicologists, music practitioners, and those interested in philosophy generally will find the papers in this volume rewarding reading. (shrink)

This article revisits the question of how elegy was performed at the symposion, and argues that, rather thanbeing either musical or non-musical, elegy situates itself between speech and song. None of the passages in whichelegy mentions song are clearly self-referential: they tend to be generic, set in the future, concerned with otherperformers and other compositions or altogether too slippery in their language to pin them down. Moreover, there area number of elegiac pieces that appear designed to allow symposiasts to shift (...) from song to speech or speech to song,thereby introducing a new mode of performance, and so are themselves transitional. These observations about the wayelegiac texts position their own performance are complemented by considerations about their actual performance.Evidence both from ancient musicologists and from other tonal languages suggests that inbetween modes of deliverywere common in Greek poetry and the metrical shape makes elegy a prime candidate. The final section of the articleturns to the difficult term elegos in fifth-century drama. It argues that several of these passages draw on inbetweennessas one association of elegos and thus decreases the gap between elegos and surviving elegy. A coda points out that theelegiacs in Euripides' Andromache are a further example of elegy transitioning between two modes of performance. (shrink)

Dario Martinelli’s compact and enjoyable treatise on zoömusicology, _Of Birds, Whales and Other Musicians_ introduces musicologists, biologists, social scientists, and philosophers to a new theoretical model for studying how animal behavioral patterns relate to sound communication. Organized by musical trait rather than animal species, and drawing upon the work of such esteemed philosophers as Umberto Eco, Charles Sanders Peirce, and Thomas Sebeok, Martinelli’s analyses redefine the boundaries surrounding music and help readers—scholars and amateurs alike—to appreciate the relationship between animals (...) and musicological exchanges. (shrink)

Contemplating Art is a compendium of writings from the last ten years by one of the leading figures in aesthetics, Jerrold Levinson. The twenty-four essays range over issues in general aesthetics and those relating to specific arts--in particular music, film, and literature. It will appeal not only to philosophers but also to musicologists, literary theorists, art critics, and reflective lovers of the arts.

Philosophers and artists consider the relevance of Maurice Merleau-Ponty’s philosophy for understanding art and aesthetic experience. This collection of essays brings together diverse but interrelated perspectives on art and perception based on the philosophy of Maurice Merleau-Ponty. Although Merleau-Ponty focused almost exclusively on painting in his writings on aesthetics, this collection also considers poetry, literary works, theater, and relationships between art and science. In addition to philosophers, the contributors include a painter, a photographer, a musicologist, and an architect. This widened (...) scope offers important philosophical benefits, testing and providing evidence for the empirical applicability of Merleau-Ponty’s aesthetic writings. The central argument is that for Merleau-Ponty the account of perception is also an account of art and vice versa. In the philosopher’s writings, art and perception thus intertwine necessarily rather than contingently such that they can only be distinguished by abstraction. As a result, his account of perception and his account of art are organic, interdependent, and dynamic. The contributors examine various aspects of this intertwining across different artistic media, each ingeniously revealing an original perspective on this intertwining. (shrink)

In 'Arbeit am Kanon', Italian musicologist Federico Celestini and German philosopher Andreas Dorschel discuss aesthetic issues in the work of composers Joseph Haydn, Franz Schubert, Johannes Brahms, Anton Bruckner, Hugo Wolf, Gustav Mahler, Anton Webern, and Franz Schreker.

The aim of this paper is to examine how Adorno's aesthetic and musicological thinking was received in Czech and Slovak musicology in the decades between the 60s and the 80s. The focus is on the Czech and Slovak translation of some of Adorno’s musicological treatises and lectures – especially those concerning his views on the Second Vienna School and the musical poetics of its immediate successors – which were published in former Czechoslovakia. The study offers an interesting perspective on Adorno’s (...) relatively unknown lecture Form der neuen Musik and its related, although not identical, Czech version Formové princípy súčasnej hudby [Formal Principles of Contemporary Music] as well as on his discussion with some Slovak composers and musicologists published as Dnes je možné iba radikálne kritické myslenie [Today, Only Radical Critical Thinking is Possible]. The study also considers other scientific texts by Adorno in relation to the above-mentioned translations of his works. The analysis, reflection, and interpretation of Adorno’s works in former Czechoslovakia, as well as their contemporary reception, turn out to be sporadic in the examined period. The purpose of this research is to revive awareness of their significance and to give a new impulse to their reassessment within the current musicological and philosophical reflection. (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)

Although Theodor W. Adorno is best known for his association with the Frankfurt School of Critical Theory, he began his career as a composer and successful music critic. _Night Music_ presents the first complete English translations of two collections of texts compiled by German philosopher and musicologist Adorno—_Moments musicaux_, containing essays written between 1928 and 1962, and _Theory of New Music_, a group of texts written between 1929 and 1955. In _Moments musicaux_, Adorno echoes Schubert’s eponymous cycle, with its emphasis (...) on aphorism, and offers lyrical reflections on music of the past and his own time. The essays include extended aesthetic analyses that demonstrate Adorno’s aim to apply high philosophical standards to the study of music. _Theory of New Music_, as its title indicates, presents Adorno’s thoughts and theories on the composition, reception, and analysis of the music that was being written around him. His extensive philosophical writing ultimately prevented him from pursuing the compositional career he had once envisaged, but his view of the modern music of the time is not simply that of a theorist, but clearly also that of a composer. Though his advocacy of the Second Viennese School, comprising composer Arnold Schoenberg and his pupils, is well known, many of his writings in this field have remained obscure. Collected in their entirety for the first time in English, the insightful texts in _Night Music _show the breadth of Adorno’s musical understanding and reveal an overlooked side to this significant thinker. (shrink)