David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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British Journal of Aesthetics 45 (2):175-184 (2005)
Several prominent philosophers of music, including Lydia Goehr and Peter Kivy, maintain that the experience of music changed drastically in about 1800. According to the great divide hypothesis, prior to 1800 audiences often scarcely attended to music. At other times, music was appreciated as part of social, civic, or religious ceremonies. After the great divide, audiences began to appreciate music as an exclusive object of aesthetic experience. The great divide hypothesis is false. The musicological record reveals that prior to the great divide music was often the exclusive object of aesthetic experience.
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Similar books and articles
Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.
Lydia Goehr (1998/2002). The Quest for Voice: On Music, Politics, and the Limits of Philosophy: The 1997 Ernest Bloch Lectures. Oxford University Press.
Peter Kivy (2003). Another Go at Musical Profundity: Stephen Davies and the Game of Chess. British Journal of Aesthetics 43 (4):401-411.
Carolyn Beckingham (2009). Moribund Music: Can Classical Music Be Saved? Sussex Academic Press.
Ruud Welten (2009). What Do We Hear When We Hear Music? Studia Phaenomenologica 9:269-286.
Peter Kivy (2002). Introduction to a Philosophy of Music. Clarendon Press.
Alphons Silbermann (1963/1977). The Sociology of Music. Greenwood Press.
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