The process of conceptualization and creation of a film score heavily depends on the collaboration between the film director and composer. The harmony of the director’s and film composer’s ideas should provide an impetus for the synchronization of literature (the script and film narrative) and music (film score). This was mainly used as a guide in crafting the film score for the independent film Ang Panggagahasa kay Fe (The Rapture of Fe, 2009) directed by Alvin Yapan. This article explores (...) how the music is deployed to resonate with the mythic and folkloric sensibility of the film narrative. We chose to use the tambuleleng, a native lute instrument/chordophone from Bukidnon, Southern Philippines, that is a modern adaptation of three traditional instruments. In its invention, its crafting, and in the sounds it produces, the tambuleleng is an artful blending of tradition and modernity. The tambuleleng’s composition, its symbolism and function in native life and rituals, aside from the sound it creates, all became material in conveying the folkloric narrative, and articulating the issues presented in the film. Some concerns on Philippine film musical scoring are also tackled, mainly focusing on the constraints, as well as the liberties involved when operating within a limited budget for an independent movie production. (shrink)

The most famous sentence in Igor Stravinsky’s autobiography reads: “Music is by its very nature powerless to express anything at all.” When it appeared, this sentence surprised his audience. After all, Stravinsky had composed some of the most expressive music of the twentieth century, from the lyrical Petrouchka to the dramatic Le sacre du printemps to the elegaic Symphony of Psalms. But ever the polemicist, Stravinsky was in actuality blasting those whom he regarded as his aesthetic opponents, such (...) as the followers of Richard Wagner; such “impurists” were always marshaling music in the service of extramusical ends, from national solidarity to religious freedom. Seeking to repair a perceived imbalance, Stravinsky portrayed the musician as a craftsman whose materials of pitch and rhythm in themselves harbor no more expression than the carpenter’s beams or the jeweler’s stone. (shrink)

Plato’s most infamous discussions of poetry in the Republic, in which he both develops original distinctions in narratology and advocates some form of censorship, raises numerous philosophical and philological questions. Foremost among them, perhaps, is the puzzle of why he returns to poetry in Book X after having dealt with it thoroughly in Books II–III, particularly because his accounts of the “mimetic” aspect of poetry are, on their face, quite different. How are we to understand this double treatment? Here I (...) will focus on a single aspect of this question, the compatibility of the notion of μίμησις and its cognates in the two books. As Nickolas Pappas has said, “Whether Books 3 and 10 offer compatible accounts of mimêsis, and how one might make them compatible, remains the most controversial question about Plato’s aesthetics”.2 I will show that there is a single notion of μίμησις operative throughout, namely that of representation by resemblance. I will take an unusual tack. I will not begin with the most problematic part of Book III for this interpretation about poetic, linguistic μίμησις, but with the later sections on musical μίμησις. Once we have an account of this, I claim, it is easier to see how narrative μίμησις is also a kind of representation by resemblance. (shrink)

In this study of Baraka's transformation of white avant-grade poetics into a unique black poetics, Harris argues that Baraka's work can be best understood in the context of a jazz aesthetic. Baraka, he says, has taken white avant-garde and postmodernist poetic modes and political ideas, and through a formal and social process of transformation typical of jazz revision, transformed them into a black poetics and metaphysics. Harris describes the failure of the postmodernists to provide suitable aesthetic and social solutions (...) for ethnic and political problems. Baraka set as his models jazzmen like John Coltrane and Charlie Parker, who attempted to destroy white music so that a new black music could be born. To "jazzify" his poetry, he adapted a "fast rap" of scatting, "songification" and other oral and performance techniques. Harris concludes a discussion of Baraka's influence on black literature. ISBN 0-8262-0483-X: $20.00. (shrink)

Rhythm is the fundamental pulse that animates poetry, music, and dance across all cultures. And yet the recent explosion of scholarly interest across disciplines in the aural dimensions of aesthetic experience--particularly in sociology, cultural and media theory, and literary studies--has yet to explore this fundamental category. This book furthers the discussion of rhythm beyond the discrete conceptual domains and technical vocabularies of musicology and prosody. With original essays by philosophers, psychologists, musicians, literary theorists, and ethno-musicologists, The Philosophy of Rhythm (...) opens up wider-and plural-perspectives, examining formal affinities between the historically interconnected fields of music, dance, and poetry, while addressing key concepts such as embodiment, movement, pulse, and performance. Volume editors Peter Cheyne, Andy Hamilton, and Max Paddison bring together a range of key questions: What is the distinction between rhythm and pulse? What is the relationship between everyday embodied experience, and the specific experience of music, dance, and poetry? Can aesthetics offer an understanding of rhythm that helps inform our responses to visual and other arts, as well as music, dance, and poetry? And, what is the relation between psychological conceptions of entrainment, and the humane concept of rhythm and meter? Overall, The Philosophy of Rhythm appeals across disciplinary boundaries, providing a unique overview of a neglected aspect of aesthetic experience. (shrink)

Drawing on existential phenomenology, particularly Heidegger’s analytic of Dasein, and combining it with a developmental perspective, the paper focuses on those moments of crisis, in which a self faces the question of its own truth, and in the process posits the conditions for disclosing key aspects about the world and society. Late adolescence and early adulthood are the ‘ages of life’ in which such possibility of disclosure occurs most eminently, and this is relayed expressively and reflectively, the paper further argues, (...) in the few examples of popular music that act as genuine outlets for young people’s desires and anxieties. The poetic work of Morrissey is a particularly eloquent case in point. However, a succinct analysis of Morrissey’s poetics reveals that underneath the explicit thread of sexuality, it is violence and cruelty that shape the young soul into becoming a channel for world and social disclosure. (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)

Volume 1 -- Unit 1: Tragedy as an independent art of musical drama. Chapter 1: Plato's well-educated men, the dancers: Harmonia kai rhuthmos as "music and dance" -- Chapter 2: Tragedy as a necessarily performed "musical" art in the Poetics -- Chapter 3: The irreducibility of tragedy to literature -- Chapter 4: Harmonia kai rhuthmos as "music and dance" in Politics VIII.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 125-142 [Access article in PDF] Hölderlin's Poetic Self-consciousness James H. Donelan Nur ihren Gesang sollt' ich vergessen, nur diese Seelentöne sollten nimmer wiederkehren in meinen unaufhörlichen Träumen. I should forget only her song, only these notes of the soul should never return in my unending dreams. Hölderlin, Hyperion I FOR MANY YEARS, Friedrich Hölderlin has occupied a crucial position in both literary and (...) philosophical history. Well-known literary theorists, such as Walter Benjamin, Peter Szondi, and Paul de Man, have described him as the poet who made the transition from German Classicism to Romanticism. Several major philosophers, including Dieter Henrich and Manfred Frank, claim that Hölderlin's insights into Kantian and Fichtean metaphysics were vital to Schelling's and Hegel's far more famous accounts of subjectivity. Either contribution alone would make Hölderlin an important figure in intellectual history; it is almost miraculous that he managed both, especially when one considers the brevity of his career, a span of only ten or twelve productive years.What accounts for this remarkable dual achievement? Historical accident and tremendous talent give us only a partial answer. Hölderlin was fortunate to have Hegel and Schelling as close friends at the Tübinger Stift, and to move to Jena precisely when it had become a center for new thinking in both literary and philosophical circles. He had enormous ability both for ancient Greek and poetic meter, allowing him to benefit from his predecessors and his contemporaries [End Page 125] in remarkable ways. However, his parallel accomplishments in philosophy and poetry are linked by more than just happenstance and genius. In my view, they represent the continuous development of a solution to a single problem, that of self-consciousness, realized in poetic form through an idea of music. For Hölderlin, making the transition from philosopher to poet required him to establish a connection between Idealist theories of self-consciousness and the material world. To meet this challenge, he constituted himself as a self-conscious poet through both theoretical and actual poetic creations, and constituted a musical-poetic voice, or Gesang, within his poetry as a means of joining the abstractions of philosophy with the concrete voice of the poet.The background of this transformation lies in the complex history of the idea of self-consciousness, or subjectivity. In the early Idealist accounts of self-consciousness of Kant and Fichte, the subject recognizes its existence by juxtaposing itself with an object. However, the nature of this object, and the connection between the abstract, theoretical construction of the subject and the actual, practical experience of the conscious self posed a problem that neither philosopher solved definitively. For Kant, self-consciousness emerges from a pre-reflective sense of the self's existence as the subject of different experiences of phenomena over time; self-consciousness therefore arises from a deduction of empirical experience. However, this formulation contains a surprisingly belated and unmotivated version of the self, with no clear account of its origin.Fichte answered the question about the origin of the self by stating that the self posits itself through its opposition to a material object, a non-self he calls the Nicht-ich, and becomes self-conscious by differentiating the Ich from the Nicht-ich and declaring "I am I." Fichte's explanation of self-consciousness as an act rather than an entity nevertheless relies on a kind of solipsism and still does not sufficiently address the ultimate cause of the process. The Ich that declares its own existence must distinguish itself from the Nicht-ich somehow; the relation between the two terms presupposes a subject that already possesses sensory apprehension to create the distinction between Ich and Nicht-ich necessary for the initial positing of the self.Either explicitly or implicitly, both Kant's and Fichte's versions of subjectivity rely on the category of the aesthetic, defined as the experience of precognitive sensation in general, to mediate the encounter between subject and object. Kant later expanded his inquiry [End Page 126] into... (shrink)

The essays in this volume look at various kinds of music from a number of perspectives, including the socio-political, the aesthetic and the psychological. The music under discussion here is diverse but fits loosely into the categories rock-pop, new music, rap, metal and music video, with the caveat that much of the music discussed here is historically layered and engages self-consciously in the deconstruction of music genres. If there is an interpretative theme that links (...) these essays, it is that of the cultural embeddedness of music. At the same time, and this is perhaps the single most important challenge taken up in these essays, this variable cultural studies approach embraces fully the aesthetic dimension of music, construing it as that which resists and articulates the signifying function of symbolic systems of meaning. Music is seen here as the kind of social critique that traces out its own phenomenological and structural pathways in such a way that, in the end, it is critical hermeneutic theory itself that comes under scrutiny. By way of reference (and perhaps indebtedness), the non-signifying property of music discussed variably in this volume is the same as that which was brought into relief in the terminologically contradictory title of Theodor Adornos masterwork, Aesthetic Theory. (shrink)

Hip-hop music in Bulgaria is not just a style of popular music but a cultural choice and political stance. This paper explores Bulgarian hip-hop songs and artists as bearers of the communal and political through the poetic. The analyzed songs and videos of Zhluch, Atila and Upsurt from the latest wave of Bulgarian rap are symptomatic examples of the unifying characteristics of the two lines (“joking around”, “folk” and “high”, “intellectual”) of rapping as a pop culture with (...) a dynamic nature of tension and struggle. The musical play and intertextual references illuminate the role of technology as a means and form in the political game: remixes, digital sampling as expressions of the fun, contrasting, parodic, and carnivalesque recreation of reality are catalysts for challenging the status quo. (shrink)

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

Eric Prieto is a professor of French and Comparative Literature at the University of California, Santa Barbara. He is the author of Listening In: Music, Mind, and the Modernist Narrative, and numerous essays on music-and-literature, literary spatiality, Caribbean literature, and literary theory.

The epidemic outbreak of the coronavirus has meant a sudden, temporary ceasing of activities as we knew them. The health crisis has led to a social and economic crisis, and these circumstances have revealed solidarity on a global scale. In moments of separation, when culture has brought us closer together, the global phenomenon of charity songs has emerged, generating financial aid for scientific research and care for the most vulnerable people. This work focuses on a charity song turned into a (...) hymn, a narrative poem in the first person that tells everyone's common story, “Aves enjauladas” by the Spanish singer-songwriter Rozalén. This paper carries out a linguistic, stylistic and audiovisual analysis of this multimodal event, which has been transmitted through a ‘lyric video’ and spread in a vertiginous way on digital platforms and social networks, reaching millions of views. Ultimately, the paper analyses the spiritual and material impact, the body and soul of this living poem, taking a still photograph of the artistic recreations and musical, visual, pictorial and pedagogical ‘echoicities’ of this work, as well as appreciating its material socio-economic repercussions in the real lives of families at risk of exclusion. (shrink)

Rhythm is an underexplored topic in contemporary Anglophone philosophy of music.1 This collection is an attempt to change this trend. It contains twenty-four essays, dealing with issues that range from the ontology of rhythm to questions regarding its existence and relative importance in art forms other than music.I cannot here discuss all of the contributions and my selection should not be taken as indicative of differences in quality among the various chapters.The book’s introduction is worthy of mention, as (...) it is more than a chapter-by-chapter overview. The editors trace a brief history of the philosophical debate on rhythm from antiquity to the present day, stressing the relative lack of interest for this topic.This collection moves therefore in largely uncharted territory, although various essays are firmly grounded in debates that are familiar to contemporary philosophers of art. Ted Gracyk’s essay ‘Rhythm, Resemblance, and Musical Expressiveness’ is an example of this, as it is an attempt to expand on resemblance theories of musical expressiveness by showing that rhythm is crucial to establishing the relevant resemblance between music and expressive behaviour. Gracyk persuasively argues that taking rhythm into account allows resemblance theories to tackle some recurring objections and difficulties. For instance, the centrality of pace and gait to our lives may explain why we automatically focus on music’s resemblance to human movement, as opposed to any of the countless other things it resembles. Moreover, rhythmic entrainment (synchronization to music's rhythm) may be the reason why music sometimes arouses the emotions which it expresses, a claim famously defended by Stephen Davies (2011). Just as it is partly by entraining to other people’s movements that we may come to experience the emotions they experience, we are infected by the music’s mood by entraining to its rhythm. (shrink)

Music is considered an indispensable feature for almost all religions. Christianity emerges as one of the most important religious traditions in which music is involved in rituals and social life. Among the Christian sects, there are different practices in terms of using music. American Christianity was the scene of religious awakening in the 18th and 19th centuries. One of the most important reflections of this process took place in the field of music. American Christianity has given (...) particular importance to music in the experience of religious awakening since the 18th and 19th centuries. At the end of the 19th century, traditional Christian hymns have largely been altered or abandoned. Baptist, Methodist, Lutheran and Pentecostal churches have played a role in the transformation and spread of Christian music. This process has emerged as new genre hymns and later as Gospel music. There are some similar and seperated points among the new music genres. The musical instruments which they use, melody structures, the places they are performed, their improvisation or rules and their poetic features are among these points. With the introduction of these two genres and some local cultural factors, music genres have emerged as secular in style but which may have religious content. Regardless of whether it is secular or religious music, these genres have used religious terminology in their lyrics. At the same time, there are some similarities at the point of the musicians who perform these music. Blouse and Jazz are considered as the two most prominent and international examples. (shrink)

The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

Originally published in 1987, this book forms a conceptual account of the relationship between music and poetry in the late eighteenth and early nineteenth ...

I argue that the difficulty Kant encounters in evaluating music in the third Critique is caused by his problematic attempt to separate sound from meaning. Analogously, Wordsworth attempts in the Preface to divide metrical pleasure and the feeling derived from the semantic meaning of poems. In both cases, this separation can be overcome by a radical, Romantic understanding of musicality, whereby music not only participates in meaning but becomes its grounds. While this remains latent in Kant, Wordsworth's ‘Tintern (...) Abbey’ can assert the centrality of listening to thinking, which has important implications for his poetics. (shrink)

A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our brain constructs the (...) world in and around us, because it unifies thought and language, music and imagery in a clear, manageable way, most often with play, pleasure, and emotion (Schrott and Jacobs, 2011 ). In this paper, I discuss methods and models for investigating the neuronal and cognitive-affective bases of literary reading together with pertinent results from studies on poetics, text processing, emotion, or neuroaesthetics, and outline current challenges and future perspectives. (shrink)

Simply by formulating a question about the nature of ancient Greek poetry or music, any modern English speaker is already risking anachronism. In recent years especially, scholars have reminded one another that the words ‘music’ and ‘poetry’ denote concepts with no easy counterpart in Greek. μουσική in its broadest sense evokes not only innumerable kinds of structured movement and sound but also the political, psychological and cosmic order of which song, verse and dance are supposed to be perceptible (...) manifestations. Likewise, ποίησις and the ποιητικὴ τέχνη can encompass all kinds of ‘making’, from the assembly of a table to the construction of a rhetorical argument. Of course, there were specifically artistic usages of these terms—according to Plato, ‘musical and metrical production’ was the default meaning of ποίησις in everyday speech. But even in discussions which restrict themselves to the sphere of human art, we find nothing like the neat compartmentalization of harmonized rhythmic melody on the one hand, and stylized verbal composition on the other, which is often casually implied or expressly formulated in modern comparisons of ‘music’ with ‘poetry’. For many ancient theorists the City Dionysia, a dithyrambic festival and a recitation of Homer all featured different versions of one and the same form of composition, a μουσική or ποιητική to which λόγοι, γράμματα and συλλαβαί were just as essential as ἁρμονία, φθόγγοι, ῥυθμός and χρόνοι. (shrink)

This text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music, the musical/poetic structures with morphological types and formulas, musical and non-musical codes during a musical performance as well as the ethnographic research itself with its own “performances” constitute groups of “signs” and codes that, combined together, create complex frames of meanings and re-definitions not only among musicians and revelers but also among ethnographers and their (...) interlocutors and among ethnographic “texts” and their representations after multiple readings. This text presents elements that emerged after an enduring field research in Crete. The use of semiotics in the study of traditional music and musical analysis can constitute a useful analysis tool for ethnographic research from planning to composing ethnographic “texts”. This text highlights the necessity of initiating a dialogue concerning the aspects and perspectives of a semiotic approach to musicology and music ethnography. (shrink)

In Kitāb al-Muwashshā, a unique work on good manners and high-culture etiquette, al-Washshāʾ recorded the practices of a group of courtiers and other members of the elite in Abbasid society known as the ẓurafāʾ. This group conducted itself according to a strict etiquette governing dress, posture, speech, and even smell. One of the most interesting practices associated with the ẓurafāʾ is their inscribing of poetry on a variety of objects, from garments, rings, musical instruments, and wine vessels to apples and (...) citron, even on their bodies. This paper examines the practice of inscribing poetry on objects as a unique way of “performing” poetry. In this “refined” practice, poetry was not recited aloud, but rather given a voice by virtue of its physical display in space. (shrink)

The composer of vocal music writes as poet and scholiast. His message is autonomous but not wholly his own. He sets to work with a preexistent artwork before him—a poem or passage of prose, often written without thought of musical setting—and fashions his song under its constraints. He welcomes to his work a second, distinct language, one which corresponds to his own at most only partially in syntax and significance.The composer's unique act of accommodation, structuring his setting after certain (...) requisites of his text, may have far-reaching implications for his musical style—implications too often ignored in today's musical analysis and criticism. Which particular textual characteristics the composer chooses to emphasize will depend on much beyond the text itself: on his view of the nature and capabilities of musical discourse, shaped internally by musical procedures developed from the canon of his predecessors, externally by general expectations and aspirations of his culture; and on his equally rich conception of the tradition behind his text. The text-music interface is therefore a provocative area of exploration for critic and historian alike. It points to the expressive aims of a composer in a given work, and it elucidates broader cultural assumptions concerning the nature of musical and poetic discourse.Gary Tomlinson, assistant professor of music history at the University of Pennsylvania, is the author of articles on Monteverdi, early opera, and Verdi. He is currently writing a book on Monteverdi and late-Renaissance culture. (shrink)

Though Indian courts at present are riddled with issues concerning music on the copyright front, significance of another aspect of music based on its essence is largely lost and unexplored. Though courts refer to popular songs in judgments, they are few and far in between. The understanding is that law today is neither poetic nor musical. Music, however, expresses mankind’s faith, hope and aspiration. The use of popular music by Indian courts to write creatively, though (...) not necessarily improve the judgment is restricted and largely unexplored. This paper proposes to explore the dimensions of labour movement through music and the role of law in the making of India as a nation. The association of political dissent through music and the determination of the nation state to procure a stake in the management of the popular music that is sought to belong to itself will be the key theme for understanding the songs that make a nation. Beginning from the struggle for India’s independence to modern day labour movements using music for critique and promoting the vernacular culture are the essence of the paper. Historically, the role of music is central for workers in any labour movement worldwide and is now explored in the Indian context, beginning from the early years of struggle in the nineteenth century to the year of independence in 1947. Recent movements including the protests against profiteering and displacement of persons will also form part of the discussions in this paper. The roles of music and the law have periodically been addressed in the scholarly legal arena but the topic has seldom been explored in-depth from a labour perspective, as paper ventures to do. (shrink)

A number of studies have investigated glossolalia from different points of view, dealing with its various occurrences in the religious, psychopathological, and – more recently – also poetic and musical domains. The impossibility of fully understanding such a phenomenon through a purely linguistic approach has then increasingly emerged, pointing out the need to adopt a broader perspective. However, no extensive research has been developed on musical glossolalia – and especially on its non-religious forms – from such a point of (...) view. The present paper aims precisely at filling this gap: philosophical discussion of existing literature and the semiotic analysis of particularly relevant case studies of glossolalia in the musical domain help us shed new light on the functioning mechanisms of such a phenomenon, hence suggesting effective tools for understanding how it acquires meaning and produces sense. (shrink)

Dedicated to the late Gerard Béhague, this anthology offers perspectives on the evolving legacy of performance ethnography in socio-musical analysis and reflects the heritage but also contemporary trajectories of Béhague’s scholarly concerns. Prefaced by an essay outlining key developments in the ethnography of performance paradigm, the volume’s seven case studies portray snapshots of musical life in representative communities of the Americas, including the southwestern and Pacific United States, Puerto Rico, Bolivia, Chile, Cuba, and Ecuador. These studies pose anthropological inquiries into (...) the ontology of performance practice, the social power of poetic performativity, and the experience and embodiment of sound in place. (shrink)

In his book Theorien (Frankfurt am Main: S. Fischer, 2009) Martin Seel presents a philosophical and literary experiment in which he desists from introducing a single grand theory in favour of offering a number of smaller theories. In an aphoristic manner these personal and poetic observations are linked to rigorous reflections on the classical themes of human selfunderstanding: happiness and morality, failure and beauty, sickness and death, sense and understanding, knowledge and freedom, religion and music. Staying clear of (...) disciplinary formations, the author shuffles the cards of epistemology, ethics and aesthetics in order to address philosophy as a whole without extinguishing its fire within the confines of a systematic edifice. This collection of shortcuts can be read from beginning to end, or backwards, or starting in the middle; as a reflection on thinking; a play with the voices of passion; a variation on foundations and pitfalls of action; a defence of the indeterminate in all that is determinate; as a fragment of a prosaic confession. These heterogeneous gestures unfold an improvised text that tracks the uncertainties of life and of writing. This text is an excerpt from the book, published in Die Zeit no. 37, September, 2009. (shrink)

Musical idioms may appear side by side in a wide variety of historical, group-based or individual compositional styles used in the postmodern compositions. The reception interpretation of musical works is based on the idioms of musical speech as meaningful and expressive constants. Not only do the reveal the positive or negative ties of current musical language to the musical poetics from previous periods, they also update their meanings. The idiomatic musical structures naturally grow into the social system of music (...) and thus become part of the deeper levels of European compositional tradition. Musical meanings are becoming typical for the particular sectors of European musical culture, and may even become their emblem. It is even likely that the idioms cease to be seen as a complex musical structure in the process of reception and they become a plain composition material, singular units of musical language. Using the postmodern composition Apolloopera by Marek Piaček, we illustrate the in-depth reference platform of musical idioms and examine the role of idiomatic units in the structure of a postmodern piece. (shrink)

Although Eco was deeply interested in music, his bibliography does not include a work entirely and exclusively dedicated to this theme. However, references to the problems of musical production, listening, interpretation and transmission are scattered in numerous essays, and are often implicitly or explicitly linked to the theoretical and compositional work of his friend and composer Luciano Berio, who in turn dialogued with the developments of Eco’s thought. This article reconstructs the intellectual relationship and friendship between Eco and Berio, (...) originated in the fifties at the Rai studios in Milan; then it examines the passages in Eco’s work dedicated to music, from The Open Work (1962) to Kant and the Platypus (1997). Finally, the article focuses on the controversies raised by the concept of open work, conceived by Eco starting from some musical works including Berio’s Sequenza I for solo flute (1958). With respect to the freedom left to the performer in the 1958 score, Berio’s rewriting in traditional notation in the Nineties seems to undermine at its roots the idea of openness which, according to Eco, distinguishes contemporary poetics. This circumstance provoked some musicological, philological and philosophical controversies, which allowed Eco (2012) to return to reflect on the concept of open work, specifying and clarifying the aesthetic conception underlying it. (shrink)

There is no question, of course, that music is a temporal art. Stravinsky, noting that it is inconceivable apart from the elements of sound and time, classifies it quite simply as "a certain organization in time, a chrononomy."1 His definition stands as part of a long and honored tradition that encompasses such diverse figures as Racine, Lessing, and Schopenhauer. Schopenhauer, putting the case in its strongest terms, remarks that music is "perceived solely in and through time, to the (...) complete exclusion of space," thus making explicit the opposition between time and space and ruling out the latter as a possible area for legitimate musical experience. Yet anyone familiar with the philosophical and theoretical literature dealing with music must be struck by the persistence with which spatial terminology and categories appear. Indeed, it would seem to be impossible to talk about music at all without invoking spatial notions of one kind or another. Thus in discussing even the most elementary aspects of pitch organization—and among the musical elements, only pitch, we should remember, is uniquely musical—one finds it necessary to rely upon such spatially oriented oppositions as "up and down," "high and low," "small and large" , and so on. Space, then, pace Schopenhauer, apparently forms an inseparable part of the musical experience. · 1. Igor Stravinsky, Poetics of Music in the Form of Six Lessons, trans, Arthur Knodel and Ingolf Dahl , p. 28. Robert P. Morgan is active as both a music composer and theorist. A professor of music at the University of Chicago, he is currently composing a concerto for flute, oboe, and string orchestra to be performed at Swarthmore College. His previous contribution to Critical Inquiry, "On the Analysis of Recent Music," appeared in the Autumn 1977 issue. Anthony Gilbert responds to the current essay in "Musical Space: A Composer's View". (shrink)

This article examines two interrelated aspects of Mexican regional music response to the coronavirus crisis in the música huasteca community: the growth of interactive huapango livestreams as a preexisting but newly significant space for informal community gathering and cultural participation at the onset of the coronavirus pandemic, and the composition of original verses by son huasteco performers addressing the pandemic. Both the livestreams and the newly created coronavirus disease verses reflect critical improvisatory approaches to the pandemic in música huasteca. (...) The interactive livestreams signaled an ad hoc community infrastructure facilitated by social media and an emerging community space fostered by Do-It-Yourself activists. Improvised COVID-related verses presented resonant local and regional themes as a community response to a global crisis. Digital ethnography conducted since March 2020 revealed a regional burst of musical creativity coupled with DIY intentionality, a leveling of access to virtual community spaces, and enhanced digital intimacies established across a wide cultural diaspora in Mexico and the USA. These responses were musically, poetically, and organizationally improvisational, as was the overall outpouring of the son huasteco music inspired by the coronavirus outbreak. Son huasteco is a folk music tradition from the Huasteca, a geo-cultural region spanning the intersection of six states in central Mexico. This study examines a selection of musical responses by discussing improvisational examples in both Spanish and the indigenous language Nahuatl, and in the virtual musical communities of the Huasteca migrant diaspora in digital events such as “Encuentro Virtual de Tríos Huastecos,” the “Huapangos Sin Fronteras” festival and competition, and in the nightly gatherings on social media platforms developed during the pandemic to sustain the Huastecan cultural expression. These phenomena have served as vibrant points of transnational connection and identity in a time where physical gatherings were untenable. (shrink)

Philosophy is the soul of art, and art is great because of philosophy. All kinds of philosophical thoughts seep into artists' minds like water flooding the beach, affecting their world outlook and outlook on life, and providing theoretical guidance for their artistic creation from aesthetic thoughts to creative methods. Beethoven used musical language to express the deepest worries in the hearts of the advanced people of his time. This paper attempts to explore the internal development law of art philosophy from (...) the perspectives of the orientation of art philosophy, the aesthetic construction of "meaningful form" and "poetic dwelling" of art philosophy, the thinking of the final conclusion of art philosophy, the development destination of art philosophy, and the integration and development. In the long history of art development, the form and function of art are constantly changing. Philosophy provides a continuous source of creative ideas for art and works of art often show profound philosophical views. Kant's lofty aesthetic concept affects the infinite emotional capacity in Beethoven's music. However, the expression of the ubiquitous contradictions and conflicts in Beethoven's music is also deeply influenced by Kant's view of nature. In Beethoven's view, the development of the universe is similar to a person's mental journey, and its essence is also a large symphony or sonata. (shrink)

Tom McLeish’s Music and Poetry of Science adds to along and complex literature looking at the creative powers of human genius. In addition to his own scientific field, McLeish draws on art, poetry, novels, music, and BBC television productions. Although positioned in the line of the ‘two cultures’ debate typically associated with C. P. Snow, McLeish reprises William Beveridge’s earlier contribution to that tradition, perhaps, to be aligned,although this McLeish does not do, with Peter Pesic’s Music and (...) the Making of Modern Science . The task of coordinating music, poetry, and science requires more, such that the material hermeneutics of the late Irish-Belgian physicist and philosopher, Patrick Heelan might have offered a basis for fruitful dialogue, although this,too, was a missed opportunity. Given McLeish’s illustration of the beauty key to mathematics in physics via BBC television, it seems an illustration of technological millenarianism via Andrew MacKendrick’s 1951 film, The Man in the White Sui , updated for today, key in a nano-context, might be helpful in raising issues of material‘instability,’ i.e., environmental detritus, nano-waste and pollution. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s (...) 1803 “Trauerspiel mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

P. Cheyne, A. Hamilton, M. Paddison, The Philosophy of Rhythm : Aesthetics, Music, Poetics, New York, Oxford University Press, 2019 – ISBN 978-0-19-934778-0 This review has already been published in Horizon. Studies in Phenomenology 10, 2021 : II, pp 312-319.: The review provides an outline of the collective monograph The Philosophy of Rhythm : Aesthetics, Music, Poetics, edited by Peter Cheyne, Andy Hamilton and Max Paddison, published by Oxford University Press, - Recensions.

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)

This study explores the relationship between the poetic language of Donne, Herbert, Milton, and other British poets, and the choral music and part-songs of composers including Tallis, Byrd, Gibbons, Weelkes, and Tomkins. The seventeenth century was the time in English literary history when music was most consciously linked to words, and when the mingling of Renaissance and 'new' philosophy opened new discovery routes for the interpretation of art. McColley offers close readings of poems and the musical settings (...) of analogous texts, and discusses the philosophy, performance, and disputed political and ecclesiastical implications of polyphony. She also enters into current discourse about the nature of language, relating poets' use of language and composers' use of music to larger questions concerning the arts, politics and theology. (shrink)

Scholarship on the late fifth-century BC New Music Revolution has mostly relied on the evidence provided by Athenaeus, the pseudo-Plutarch De musica and a few other late sources. To this date, however, very little has been done to understand Athenaeus' own rale in shaping our understanding of the musical culture of that period. This article argues that the historical context provided by Athenaeus in the section of the Deipnosophistae that cites passages of Melanippides, Telestes and Pratinas on the mythology (...) of the aulos (14.616e-617f) is not a credible reflection of the contemporary aestheties and strategies of the authors and their works. Athenaeus is both following the structure of Aristotle's discussion of the topic of the aulos in Politics 8. 1341a-1342b and accepting the elite ideological position given there. Athenaeus' text thus does not provide evidence for the historical context in which late fifth-century authors were composing, but rather constitutes an attempt to illustrate Aristotle's argument with poetic examples from late fifth-century poets. (shrink)