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  1.  13
    Music, Historical Knowledge, and Critical Inquiry: Three Variations on "The Ruins of Athens".Lawrence Kramer - 2005 - Critical Inquiry 32 (1):61.
  2.  15
    Recognizing Schubert: Musical Subjectivity, Cultural Change, and Jane Campion’s The Portrait of a Lady.Lawrence Kramer - 2002 - Critical Inquiry 29 (1):25-52.
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  3.  4
    The Shape of Post-Classical Music.Lawrence Kramer - 1979 - Critical Inquiry 6 (1):144-152.
    Very few nineteenth-century works are unintelligible in terms of a dual structure. Consider a Chopin Ballade or Etude as an example. Such pieces, with their continuous chromatic mutation and rhapsodic form, make little sense in classical terms. Yet once one grasps that the process of chromatic alteration is their norm, not a mode of deviation, they become perfectly and immediately intelligible. Their autonomy is in no way compromised, nor do the pieces require extrinsic support from language; any competent listener will (...)
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  4. Expression and Truth: On the Music of Knowledge.Lawrence Kramer - 2012 - University of California Press.
    Expression and truth are traditional opposites in Western thought: expression supposedly refers to states of mind, truth to states of affairs. _Expression and Truth_ rejects this opposition and proposes fluid new models of expression, truth, and knowledge with broad application to the humanities. These models derive from five theses that connect expression to description, cognition, the presence and absence of speech, and the conjunction of address and reply. The theses are linked by a concentration on musical expression, regarded as the (...)
     
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  5.  17
    Interpreting Music.Lawrence Kramer - 2010 - University of California Press.
    _Interpreting Music_ is a comprehensive essay on understanding musical meaning and performing music meaningfully—“interpreting music” in both senses of the term. Synthesizing and advancing two decades of highly influential work, Lawrence Kramer fundamentally rethinks the concepts of work, score, performance, performativity, interpretation, and meaning—even the very concept of music—while breaking down conventional wisdom and received ideas. Kramer argues that music, far from being closed to interpretation, is ideally open to it, and that musical interpretation is the paradigm of interpretation in (...)
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  6. Music and Representation: The Instance of Haydn's Creation.Lawrence Kramer - 1992 - In Steven P. Scher (ed.), Music and Text: Critical Inquiries. Cambridge University Press. pp. 139--62.
     
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  7. The Hum of the World: A Philosophy of Listening.Lawrence Kramer - 2019 - University of California Press.
    _The Hum of the World_ is an invitation to contemplate what would happen if we heard the world as attentively as we see it. Balancing big ideas with playful wit and lyrical prose, this imaginative volume identifies the role of sound in Western experience as the primary medium in which the presence and persistence of life acquire tangible form. The positive experience of aliveness is not merely in accord with sound, but inaccessible, even inconceivable, without it. Lawrence Kramer’s poetic book (...)
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  8. The Thought of Music.Lawrence Kramer - 2016 - University of California Press.
    What, exactly, is knowledge of music? And what does it tell us about humanistic knowledge in general? _The Thought of Music_ grapples directly with these fundamental questions—questions especially compelling at a time when humanistic knowledge is enmeshed in debates about its character and future. In this third volume in a trilogy on musical understanding that includes _Interpreting Music_ and _Expression and Truth_, Lawrence Kramer seeks answers in both thought _about_ music and thought _in_ music—thinking in tones. He skillfully assesses musical (...)
     
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  9. [Url Address=(Quote) Javascript: Ucppopuplarge ('290102. Fg 104-1. Html');(Quote) Status=(Quote) Okay (Quote)] Sequence 4 [/Url]. [REVIEW]Lawrence Kramer - 2002 - Critical Inquiry 29 (1):25-52.
     
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