Analytic Perspectives in the Philosophy of Music The philosophy of music attempts to answer questions concerning the nature and value of musical practices. Contemporary analytic philosophy has tackled these issues in its characteristically piecemeal approach, and has revived interest in questions about the ontological nature of musical works, the experience of musical expressiveness, the value … Continue reading Philosophy of Music: Analytic Perspectives →.

A good, single volume history of the philosophy of music would be nice to have, but I do not think that the book under review here is it. (Full disclosure: I am.

This chapter contains sections titled: Formalism Enhanced Formalism Beyond Formalism.

The article deals with the problem of the disciplinary identification of thephilosophy of music education. It explores alternative approaches to thephilosophy of music education and its relation to musical pedagogy. On thebasis of this analysis an account of the philosophy of music education as aphilosophical discipline is suggested and its specific function identified.

This surveys the philosophies of music of the most important thinkers in Islam between the 9th and the 15th centuries A.D. It covers topics ranging from the ...

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)

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

This lively and lucid introduction to the philosophy of music concentrates on the issues that illuminate musical listening and practice. It examines the conceptual debates relevant to the understanding and performing of music and grounds the philosophy to practical matters throughout. Ideal for a beginning readership with little philosophical background, the author provides an overview of the central debates enlivened by a real sense of enthusiasm for the subject and why it matters. The book begins by (...) filling in the historical background and offers readers a succinct summary of philosophical thinking on music from the Ancient Greeks to Eduard Hanslick and Edmund Gurney. Chapter 2 explores two central questions: what is it that makes music, or, to be precise, some pieces of music, works of art? And, what is the work of music per se? Is it just what we hear, the performance, or is it something over and above that, something we invent or discover? Chapter 3 discusses a problem pecullar to music and one at the heart of philosophical discussion of it, can music have a meaning? And if so, what can it be? Chapter 4 considers whether music can have value. Are there features about music that make it good, features which can be specified in criteria? Is a work good if and only if it meets with the approval of an ideally qualified listener? How do we explain differences of opinion? Indeed, why do we need to make judgements of the relative value of pieces of music at all? This engaging and stimulating book will be of interest to students of aesthetics, musical practitioners and the general reader looking for a non-technical treatment of the subject. (shrink)

New and distinctive approaches to five central topics in musical aesthetics are provided in this outstanding book. The topics are: understanding, representation, expression, performance and profundity.

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

Representing Stephen Davies's best shorter writings, these essays outline developments within the philosophy of music over the last two decades, and summarize the state of play at the beginning of a new century. Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern technology on the presentation and reception of musical works. Rather than attempting to reduce musical works to a (...) single type, Davies recognizes a great variety of kinds, and a complementary range of possibilities for their rendition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 200-202 [Access article in PDF] Bennett Reimer, A Philosophy of Music Education:advancing the Vision, Third Edition. (upper Saddle River, New Jersey: Prentice In his third and greatly revised edition of A Philosophy of Music Education, Bennett Reimer fulfills the promise of his subtitle, Advancing the Vision. While incorporating essentials and a few passages of his previous (...) edition, its thrust is to present and argue for a new theory of musical intelligences. Here Reimer is pushing into a theoretical frontier, one that he sees as crucially relevant to the music education concerns that have so long been at the heart of his thinking.So although this is a new edition, third time around, of a classic in the field of philosophy of music education by one of its "elder statespersons," it is in many ways a new book. Reimer has never been a thinker to rest on his past achievements. He demonstrates here his ongoing curiosity about issues he has been wrestling with for decades. He engages in debate (as sympathetically as possible) with others who are also forging new ideas. Interacting with their ideas and his own former ones, he generates new ways of thinking about what is involved in musical composing, performing, listening, and theorizing. He uses all this as ground for challenging students and teachers of music to reflect on their own philosophical or pre-philosophical assumptions, their learning and teaching practices, and their [End Page 200] opportunities to make music even more meaningful in their lives and the lives of others. All this is informed by his evident (without his ever making an overt claim for it) love of music, love of philosophizing about music and music education, and his love of teaching about music. I will comment here on just some of the many notable features of the new edition.Reimer announces his approach as synergistic—that is, looking for areas of agreement beneath the surface of what seem to be radically opposing positions (between absolutism and relativism concerning musical value, for instance). What is especially noteworthy is that he demonstrates this moderation throughout his book. This does not lead to his being uncritical; in fact, he is highly critical of some stances and in Chapter 1 makes a devastating attack on postmodernism in music education. But generally he seeks to find what is worthwhile in the views of others and what he can assimilate from their thinking.While valuing musical performance and especially the successful record on teaching performance in American schools, Reimer believes that music education should have much wider concerns: to provide the groundwork for students interested in composing, conducting, improvising, arranging, reviewing, theorizing, and above all listening. Listening, he persuasively argues, is the core skill for all the other activities or roles, and it is also the skill probably most useful in the long run for the greatest number of students. Few, after all, will go on to become professional performers or music creators in some other role, and not many will even become highly competent performing amateurs. But almost everyone can develop some skills in active listening, and they deserve the attention in music education that has been mostly lacking. In the program Reimer advocates, the largest potential student population will become (in his aptly chosen term) aficionados—intelligent, discriminatory listeners. Some of this is attended to in colleges and universities, but by then the opportunity for many has passed.Building on Howard Gardner's theory of multiple intelligences, Reimer points out the limitations of analysis in terms of simply one musical intelligence. The abilities needed for musical activities are not all the same, even though they have the common requirement of listening skill. The notion of multiple musical intelligences (specifically composing, performing, improvising, listening, music theory, musicology, and music teaching) provides a rich basis and suggests new possible methods for broadening music education at all school levels. It also indicates a worthwhile area both for future research and for application beyond the field of music. Education, Reimer says, should be thought of... (shrink)

Burnout is a risk for many music teachers, particularly the highly successful and effective teachers. Burnout is more than a personal feeling of discomfort or fatigue. It is an attack on professional efficiency and personal integrity. Burnout is affecting male and female music teachers in different ways, because women tend to react to stress in other ways than men and are in a different position in schools, often suffering from the various roles they have both in professional and (...) private life. The school environment, which is often male dominated, output-oriented, and focused on achievement, is sometimes not a good place for a female music educator's creativity, intuition, and search for personal growth. This paper explores ways philosophy of music education can contribute to a more comprehensive understanding of female music teachers' burnout, also offering opportunities for prevention or treatment. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction (...) to some fascinating questions and ideas. (shrink)

This book presents a comprehensive, accessible survey of Western philosophy of music from Pythagoras to the present. Its narrative traces themes and schools through history, in a sequence of five chapters that survey the ancient, medieval, early modern, modern and contemporary periods. Its wide-ranging coverage includes medieval Islamic thinkers, Continental and analytic thinkers, and neglected female thinkers such as Vernon Lee (Violet Paget). All aspects of the philosophy of music are discussed, including music and the (...) cosmos, music's value, music's relation to the other arts, the problem of opera, the origins of musical genius, music's emotional impact, the moral effects of music, the ontology of musical works, and the relevance of music's historical context. The volume will be valuable for students and scholars in philosophy and musicology, and all who are interested in the ways in which philosophers throughout history have thought about music. (shrink)

The article examines the situation that has developed in the contemporary age and being named differently: postmodernism, post-postmodernism, digital modernism, metamodernism, etc. It is noted that, despite the difference in naming, all the terms indicate a global crisis of culture and man. The three most important signs of this crisis are identified: degradation of a man – the predominance of his animal nature; total technicism; oblivion of national traditions, sacred things. These features are briefly explained. It is concluded that the (...) basis of these signs is the loss of human spirituality. It is stated that music has extraordinary opportunities to elevate the spiritual needs of a person. It is emphasized that these opportunities contributed to the strengthening of the impact of religious practices within various worships – shamanism, Zoroastrianism, Sufism, and others, which ensured the maintenance of the humanity of the world. It is believed that the use of spiritual-creative possibilities of music will help overcome the existing global crisis and prepare the formation of the era of culture and man, the era called a New Humanism by M. Eliade. It is argued that there are composers in Russia and in other countries today who purposefully use the spiritual-creative potential of music in their work to overcome the crisis that has arisen. We offer an interview with one of them – Russian composer Dmitry Stefanovich. In conclusion, it is noted that the following articles will continue to analyze the processes taking place in contemporary culture, and, in this regard, there will be presented stories about music and interviews with composers from Russia and other countries. (shrink)

The article presents philosophical views on music in the context of the transformations of the worldview from Antiquity to the Modern Time. In this research author also mentions the contemporary issues, and uses her own philosophical concept of the music, which can be described as following: the value of music as a substance and the way of the valuable interaction of a person with the world affirm the essence of musical being, in which the invariable principle of (...) Harmony, the principle of Chaos-Form movement, is preserved. Music expresses the fluid essence of the world and changes of being in space and time. Philosophy of music as a field of philosophical knowledge considers music from ontological-epistemological and phenomenological-axiological prospectives, as something more than just a form of art. It explores the deep, ultimate foundations of the existence of music as such and the philosophical and aesthetic foundations of musical art. Since ancient times music has been a representation of the world in the human conscience and served as the harmonic equivalent of cosmological philosophy, mathematics, astronomy, and astrophysics. The scientific view on music was enriched in the Modern Time by the expanded view on the cosmo-sound space reflected in musical art, which at the same time transforms the mathematical ideas of geometricity, squareness etc. The tendency to create integral world music in the musical practice of the XX-XXI centuries explains the attempt of mankind to present music by modern methods of composing musical art as an expression of fear towards the secret Harmony of universal existence, and, on the other hand - as a form of search for salvation and mental balance, intuitively reflecting what is happening in natural science, which more and more points to the abyss of unknowable universe, and the unstable place of man in the world. (shrink)

This volume presents a new collection of essays on music by Jerrold Levinson, one of the most prominent philosophers of art today. The essays are wide-ranging and represent some of the most stimulating work being done within analytic aesthetics. Three of the essays are previously unpublished, and four of them focus on music in the jazz tradition.

Among Western philosophers, Schopenhauer is one of the few who seeks to clarify the nature of music, and its effects upon us. He claims that music is the most important of all the arts; and he argues that music is a kind of metaphysics that allows us to experience the ultimate reality of the world. In this essay, I evaluate Schopenhauer’s philosophy of music in the context of his overarching philosophy. Then I discuss the (...) relevance of traditional Indian philosophies -- including Advaita Vedanta and Buddhism -- which Schopenhauer recognized as forerunners to his own philosophical system. Here, the discussion of Om is particularly important. Schopenhauer’s discussion of music is insightful. But his insistence on the priority of the will is problematic. I suggest another perspective on willing, ultimate reality and music which follows the classical Indian philosophies that he affirms. (shrink)

This article addresses the inherently relational nature of musical agency, drawing upon interdisciplinary research. It argues that music does not exist in isolation but within social and emotional contexts shaped by a network of relationships among musicians. These interactions create a collaborative space that transcends mere technical execution, fostering a collective experience enriched by shared sensitivity and emotional engagement. Consequently, musical practice, whether compositional or performative, entails a moral responsibility, particularly challenging the perspectives of Levinas; Bauman; and Wilde, who (...) traditionally separated art from ethics. As outlined in Nielsen and Cobussen’s work “music contributes to a better understanding of one’s place within the world, and thus, to an ethical sensibility”, emphasizing how musical practice cultivates ethical awareness through its relational nature. Music is thus conceived as a moral endeavor, where care extends not only to the music itself but also to the individuals involved in its creation and performance. Moreover, this moral responsibility extends to future generations, as musical tradition is conceived as a temporal bridge linking the past, the present, and the future. The tradition is composed of individuals actively engaged in the practices that shape the tradition or traditions. Musicians bear an intergenerational responsibility toward those who will inherit and reinterpret current practices—a responsibility not grounded in direct reciprocity, but in what Randall describes as “conceptual ties”. The continuity of musical tradition and its aesthetic value depend on the care and responsibility each generation shows toward both the participants and the evolving cultural products of this process. Thus, the discussion elucidates the ethical dimensions of musical agency and practice, particularly in Western classical music, and highlights how our obligations to future generations are intrinsic to the practice itself, thereby contributing to broader debates on intergenerational care ethics. (shrink)

Since the 1950s, the philosophy shared among many in the field of music education is that music education should "develop the aesthetic potential, with which every human being is endowed, to the highest possible level."1 This philosophy, presented by Charles Leonhard and Robert House in Foundations and Principles of Music Education, highlights theirs and others' philosophy of music education and the arts as a whole. Most notably, John Dewey's Art as Experience, Susan Langer's (...) Philosophy in a New Key, and William C. Hartshorn's "Integrity in Music Education" all played a key role in shaping the past and present theories of music education. Hartshorn, who seems to be the most deliberate in his... (shrink)

The article examines the processes taking place in contemporary musical culture, and the emphasis is placed on the situation that has developed today in the musical life of Russia. It is noted that many contemporary composers in Russia are breaking with the domestic artistic traditions, focusing on the creative initiatives of composers living in the West. Among the Russian composers, the SoMa group composers are distinguished by a special intransigence to the principles of artistic creativity that tradionally developed in Russia, (...) they loudly declared: “Contemporary Russian music is us.” At the same time, it should be taken into account that Russian music is inextricably linked with the artistic traditions of Russia, which, first of all, is manifested in the reliance of the musical material on the songfulness that originates in the liturgical Orthodox singing. It is emphasized that today in Russia there are composers who maintain contact with the tradition, thereby preserving the achievements of Russian music. Among them, first of all, are the composers who are part of the MOST group. Moreover, the composers work in all cities of Russia – from Kaliningrad to Vladivostok – and increase the glory of Russia by their creativity. An interview is given with one of them – the Perm composer Nikita Shirokov. In conclusion, the author discusses the prospects for the development of the journal’s section – it is planned to publish materials and interviews related to the contemporary musical life in other countries. (shrink)

Roholt’s discussion of the methodological divide between analytic and continental philosophy of music is undertaken with the hope of bringing about the divide’s dissolution. Roholt limits the scope of the discussion to methodological debates in the philosophy of music, without referring to the ongoing debate about the divide at large. This begs the question of how methodological differences in the philosophy of music correlate with differences between analytic and continental philosophy. Upon closer inspection, (...) there is nothing that is essentially analytic or continental about the opposed methodological preferences discussed by Roholt. This acknowledgement is in part what Roholt aimed at: it erects no strict communicative barrier between two methodologically opposed sides. There is however, as I point out, a further unresolved problem with Roholt’s talk of ‘tendencies’ (or the parallel metaphilosophical employment of family resemblances to understand the divide), which if unresolved may allow for a regression to stereotypical conceptions of the divide. (shrink)

In this article, I present a five-part critique of the main aspects of the second edition of Music Matters by David Elliott and Marissa Silverman. This edition further develops their praxial philosophy, comprising topics on the nature and value of music education from a normative perspective, which in turn is developed to suit all musical education contexts. My analysis is organized in five main arguments concerning, first, an absence of historicity; second, the adoption of universalist premises; third, (...) the inconsistency between the concepts of personhood and musical value; fourth, the adoption of a normative philosophy; and fifth, the relation between synthesis and content in the chapters. I argue that the book is constructed from a universalistic perspective and that its premises have epistemological inconsistencies. I offer a critical analysis of this extensive work for the purpose of engaging in a dialogue about themes which are relevant to the further development of philosophical thought in music education. (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)

Beethoven is a classic study of the composer's music, written by one of the most important thinkers of our time. Throughout his life, Adorno wrote extensive notes, essay fragments and aides-memoires on the subject of Beethoven's music. This book brings together all of Beethoven's music in relation to the society in which he lived. Adorno identifies three periods in Beethoven's work, arguing that the thematic unity of the first and second periods begins to break down in the (...) third. Adorno follows this progressive disintegration of organic unity in the classical music of Beethoven and his contemporaries, linking it with the rationality and monopolistic nature of modern society. Beethoven will be welcomed by students and researchers in a wide range of disciplines - philosophy, sociology, music and history - and by anyone interested in the life of the composer. (shrink)

This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds (...) singing to be the most important component of music. These two ideas are not only unquestionably acceptable , as the analysis in the paper will show, but give to Indian music , in its difference from western music, its distinctively spiritual character, making it a path to liberation or Moksha (Muktidayakam na tu ranjakam). Sarangadeva's reason, here, is not rational but empirico-inductive. It is that mainly by virtue of its 'gitam’ (singing component), which, like the Yoga system of exercise, needing only one's body as its instrument, music too needing only one’s voice is as self-sufficient and autonomous as the ultimate Reality itself (Swayamev Rajate). In the hierarchy (a distinctively ancient Indian insistence) of arts, singing is the highest and unique because in spite of being heard by the auditory sense, it affects our 'reflective sensibility' and transports us to the virtual world of melodic and rhythmic forms. Forms, as against their particular illustrations, are abstract universals. Ultimate Reality is also a Form-all comprehensive and internally harmonious. However, pure Form, whether melodic or religious or even rational like that of triangularity, is almost impossible to concentrate on. Realizing this practical difficulty, Indian scriptures and the world's first Grammarian-linguist, Acharya Panini, framed a composite sound as the manifestation of the ultimate musical Form. This purely formal-because devoid of all meaning, sound is that of 'om', spelt, in Sanskrit as a conjunction (sandhi) of 'a'+'u'+'m'. For Indian musicologists and musicians, ‘om’ is the perfect manifestation of the Sound-God or ‘Nada-Brahman’ because, 1. Its composite nature resembles God, as a harmony of 'sat', 'chit', and 'ananda'; and 2. The composite sound is self-existent as its all three components-two vowels, i.e. ‘a’, ‘u’, and one consonant i.e. ‘m’, can be and are pronounced just as they originally are, -un-elongated and un-vitiated and therefore pure. This is the reason why every recital of Indian classical vocal music is begun with an elaborate rendering of 'om' as an invocation to Sound-God or ‘Nada-Brahman’. Scholarly and authentic, this ancient Indian approach to music, is undoubtedly the earliest and original. My observation is that its main contentions like Sharang Dev’s insistence that of the three components of music, ‘gitam’ or singing is the highest, have only been translated and never argued for. In this presentation my good intention is to provide much needed rational support for making these key statements in this unparalleled Indian text, indubitable and unquestionable. (shrink)

In the beginning—or more exactly, the seventies, when I was in graduate school at the University of Michigan—was the void, and darkness was upon the face of the waters. Philosophical reflection on the experience, meaning, and powers of music by analytic philosophers was almost non-existent. And then, as the 1980s dawned, came Peter Kivy. Suddenly there was light, and analytic philosophy of music was born. In this piece I summarize the substance of the successive instalments in the (...) astounding series of books on the philosophy of music that Peter published between 1980 and 2002, allowing myself some critical reflections in a few cases. (shrink)

CHAPTER Our Field of Inquiry The history and the philosophy of music are obviously dependent upon music for their existence, but they are not for that ...

This volume contains a selection of essays in translation by the German philosopher and man of letters Ernst Bloch, on the philosophy of music. For Bloch - often simply assimilated to the Marxist tradition, but whose thought shows a strongly individual and idealist cast - music was a primary focus on reflection. His musical knowledge and expertise were of a very high order and he was well acquainted with many of the leading composers and theorists of (...) class='Hi'>music of his time in Germany: even divorced from his philosophy his criticism remains of value and significance. Throughout, whether discussing the complex and varied relations between text and music, or questions relating to the 'expressive' as opposed to the 'descriptive' functions of music, Bloch is intent on elucidating and placing musical experience. (shrink)

Ranging from Antiquity to contemporary analytic philosophy, this book provides a concise but thorough analysis of the arguments developed by some of the most outstanding philosophers of all times. Besides the aesthetics of music proper, the volume touches upon metaphysics, ethics, philosophy of language, psychology, anthropology, and scientific developments that have influenced the philosophical explanations of music. Starting from the very origins of philosophy in Western thought (Pythagoras, Plato, Aristotle) the book talks about what (...) class='Hi'>music is according to Augustine, Descartes, Leibniz, Rousseau, Kant, Hegel, the Romantics, Schopenhauer, Nietzsche, Wittgenstein, Susanne Langer, Bloch, Adorno, and many others. Recent developments within the analytic tradition are illustrated with particular attention to the ontology of the musical artwork and to the problem of music and emotions. (shrink)

This volume contains a selection of essays in translation by the German philosopher and man of letters Ernst Bloch, on the philosophy of music. For Bloch - often simply assimilated to the Marxist tradition, but whose thought shows a strongly individual and idealist cast - music was a primary focus on reflection. His musical knowledge and expertise were of a very high order and he was well acquainted with many of the leading composers and theorists of (...) class='Hi'>music of his time in Germany: even divorced from his philosophy his criticism remains of value and significance. Throughout, whether discussing the complex and varied relations between text and music, or questions relating to the 'expressive' as opposed to the 'descriptive' functions of music, Bloch is intent on elucidating and placing musical experience. (shrink)

Musical Concerns: Essays in Philosophy of Music JERROLD LEVINSONoup. 2015. pp. 192. £25.00.