David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jonathan Jenkins Ichikawa
Jack Alan Reynolds
Learn more about PhilPapers
Although I am neither a Nazi nor an anti-Semite (quite the contrary, in fact), I like the music of Richard Wagner. Why do I like his music? Mainly because I find it intoxicating. Intoxicate: To cause stupefaction, stimulation, or excitement by or as if by use of a chemical substance.) I admit that this is not a very deep reason. But I’m not very deep. (My years as an analytic philosopher would have drained any depths I may once have had.) Although Mark Twain once described Wagner’s music as ‘better than it sounds’, it actually sounds better than it is, since intoxicating substances deceive our senses. (Think of the love potion in Tristan.) There are, I grant, other more serious reasons to like and to value Wagner’s music. Rather than rehearse any of them, I’m going to turn to an annotated list of some of my favorite recordings.
|Keywords||No keywords specified (fix it)|
No categories specified
(categorize this paper)
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library||
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
Lydia Goehr (1998). The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures. Oxford University Press.
Babette E. Babich (2005). The Science of Words or Philology: Music in The Birth of Tragedy and the Alchemy of Love in The Gay Science. Rivista di Estetica 45 (28):47-78.
Eero Tarasti (1979). Myth and Music: A Semiotic Approach to the Aesthetics of Myth in Music, Especially That of Wagner, Sibelius and Stravinsky. Mouton.
Roger Scruton (2003). Death-Devoted Heart: Sex and the Sacred in Wagner's Tristan and Isolde. OUP Usa.
Fiona Ellis (2010). Scruton's Wagner on God, Salvation, and Eros. British Journal of Aesthetics 50 (2):169-187.
Dieter Borchmeyer (1991). Richard Wagner: Theory and Theatre. Clarendon Press.
Eric Chafe (2005). The Tragic and the Ecstatic: The Musical Revolution of Wagner's Tristan and Isolde. OUP Usa.
Holly Watkins (2011). Metaphors of Depth in German Musical Thought: From E. T. A. Hoffmann to Arnold Schoenberg. Cambridge University Press.
Added to index2009-01-28
Total downloads23 ( #181,080 of 1,939,000 )
Recent downloads (6 months)1 ( #458,475 of 1,939,000 )
How can I increase my downloads?