Modern philosophers generally assume that music is a problem to which philosophy ought to offer an answer. Andrew Bowie’s Music, Philosophy, and Modernity suggests, in contrast, that music might offer ways of responding to some central questions in modern philosophy. Bowie looks at key philosophical approaches to music ranging from Kant, through the German Romantics and Wagner, to Wittgenstein, Heidegger and Adorno. He uses music to re-examine many current ideas about language, subjectivity, (...) metaphysics, truth, and ethics, and he suggests that music can show how the predominant images of language, communication, and meaning in contemporary philosophy may be lacking in essential ways. His book will be of interest to philosophers, musicologists, and all who are interested in the relation between music and philosophy. (shrink)
_The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of musicmusic, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.
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)
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 Including two new and previously unpublished pieces, they address both perennial questions and contemporary controversies, such as that over the 'authentic performance' movement, and the impact of modern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)
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)
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)
Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?
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 historically feminized profession, education in North America remains remarkably unaffected by feminism, with the notable exception of pedagogy and its impact on curriculum. The purpose of this paper is to describe characteristics of feminism that render it particularly useful and appropriate for developing potentialities in education and music education. As a set of flexible methodological tools informed by Gilles Deleuze's notions of philosophy and art, I argue feminism may contribute to education's becoming more efficacious, reflexive, and reflective (...) of the values of its participants. Its impetus involves ‘feminist imperative(s)’ to help in the sense articulated by Elizabeth Grosz: to provoke thought, challenge, and problematize. (shrink)
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 essay explores some aspects of the relation between philosophy and music. First, how music can inspire philosophy; second, how philosophy can inspire music. Mathematics as a middle term between music and philosophy, the idea of wholeness in a musical composition or a philosophical text, music as a mode of thought displaying traits such as logic, coherence, and sense—these are some ways in which music and philosophy may be seen (...) to be connected. Also, composers sometimes have explicit recourse to philosophical ideas in advancing their music, there being prominent examples of this in the twentieth century. Lastly, given there is such a thing as the philosophy of music, might there also be the music of philosophy? (shrink)
The Consolations of Philosophy by Boethius, whose English translators include King Alfred, Geoffrey Chaucer, and Queen Elizabeth I, ranks among the most remarkable books to be written by a prisoner awaiting the execution of a tyrannical death sentence. Its interpretation is bound up with his other writings on mathematics and music, on Aristotelian and propositional logic, and on central themes of Christian dogma. -/- Chadwick begins by tracing the career of Boethius, a Roman rising to high office under (...) the Gothic King Theoderic the Great, and suggests that his death may be seen as a cruel by-product of Byzantine ambitions to restore Roman imperial rule after its elimination in the West in AD 476. Subsequent chapters examine in detail his educational programme in the liberal arts designed to avert a threatened collapse of culture and his ambition to translate into Latin everything he could find on Plato and Aristotle. -/- Boethius has been called `last of the Romans, first of the scholastics'. This book is the first major study in English of a writer who was of critical importance in the history of thought. (shrink)
The article considers A.F. Losev''s philosophy of music in the context ofhis entire religious worldview and as the part of hisChristian-Neoplatonic philosophy. Synthesizing Pythagorean-Platonic andRomantic musical doctrines, Losev concludes: music is the expression ofthe life of numbers, a meonic-hyletic element that rages inside numericconstructions. So it is necessary to analyse the concept of number inthe system of Neoplatonic thought. In the Neoplatonic hierarchy of theuniverse both numeric sphere and music are located at the source of (...) allthe eidei, above them and between the One (the first hypostasis) and theWorld Intelligence (the second hypostasis). Then music is considered inthe context of the relation between the uncreated Absolute (Tetrade A)and the created world (Tetrade B). Losev''s doctrine on the Tetrades Aand B (connected not by essence but by energies) is the importantmodification of Neoplatonism. Finally the article considers Losev''saccount of music in relation to the absolutized individual person. (shrink)
"Philosophy of music" is generally regarded as philosophical theorizing about music. Interpreting various German thinkers from the last three centuries through hermeneutical and neo-pragmatist lenses, Bowie reverses this order, focusing "on the philosophy which is conveyed by music itself" . In particular, Bowie uses music as a starting point for philosophical reflections on meaning and the role of philosophy in late modernity.Regarding meaning, Bowie uses ideas about music to argue that semantics should (...) replace representation with expression, social practice, and inference as its core concepts; that rhythm is the basis for discursive thought; and that music provides a set of communal responses presupposed by linguistic practice. Bowie justifies these bold claims on the grounds that "any scientific account of what language is necessarily involves the circularity of using language to explain language" . The viciousness of this circle is unclear; Bowie's positive argument suggests that avoiding this circle requires language's meaning to be grounded in something non-linguistic . But nothing about scientific explanations of language precludes this. Surely we can use a scientific language to say that. (shrink)
This book provides the first in-depth exploration of the importance of music for Ludwig Wittgenstein’s life and work. Wittgenstein’s remarks on music are essential for understanding his philosophy: they are on the nature of musical understanding, the relation of music to language, the concepts of representation and expression, on melody, irony and aspect-perception, and, on the great composers belonging to the Austrian-German tradition. Biography and philosophy, this work suggests that Wittgenstein was a composer of (...) class='Hi'>philosophy who used the musical form as a blueprint for his own writing and thought. For Wittgenstein music is not alone, but connects and resonates with our cultural forms of life. His relation to composers, especially to Richard Wagner and Gustav Mahler, enables Wittgenstein to address the question of how to do philosophy and compose music in the breakdown of tradition. Unlike his conservative musical sensibility, Wittgenstein’s philosophy is open to musical experiments. Reflecting on his remarks on music makes it possible to compare the therapeutic aim of his philosophical activity with that of music, and thus notice affinities between Wittgenstein and John Cage. Béla Szabados has a Ph.D. in philosophy from the University of Calgary and is professor of philosophy at the University of Regina. His publications include Wittgenstein Reads Weininger (2004), Wittgenstein at the Movies (2011) and Wittgenstein on Race, Gender, and Cultural Identity: Philosophy as a Personal Endeavour (2010). (shrink)
What is the difference between a performance of Beethoven's Fifth Symphony and the symphony itself? What does it mean for musicians to be faithful to the works they perform? To answer this question, Goehr combines philosophical and historical methods of enquiry. She describes how the concept of a musical work emerged as late as 1800, and how it subsequently defined the norms, expectations, and behavior characteristic of classical musical practice. Out of the historical thesis, Goehr draws philosophical conclusions about the (...) normative functions of concepts and ideals. She also addresses current debates amongst conductors, early-music performers, and avant-gardists. (shrink)
Mozart's skull -- The case of the purloined partitur -- A tale of two authenticities -- Ancient authenticities -- Operatic authenticity -- Messiah's message -- Is nothing sacred? -- Sound in sound -- Music, science, and semantics -- Authorial intention and the pure musical parameters -- Leonard Meyer's sonata.
Machine generated contents note: 1. Preparing the ground; 2. Early influences and movements; 3. Dialectic, negation and binary oppositions; 4. Boulez, Adorno and serial critique; 5. Deduction and the scientific model; 6. Serialism and structuralism; 7. Post-structuralist encounters; 8. Boulez, difference and repetition; 9. Expanding the virtual; 10. Continuity and discontinuity of space and time; Conclusion; Bibliography.
Philosophers of music (and also music theorists) have recognized for a long time that research in the sciences, especially psychology, might have import for their own work. (Langer 1941 and Meyer 1956 are good examples.) However, while scientists had been interested in music as a subject of research (e.g., Helmholtz 1912, Seashore 1938), the discipline known as psychology of music, or more broadly cognitive science of music, came into its own only around 1980 with the (...) publication of several landmark works. Among the most important of these were The Psychol- ogy of Music (1980), a collection of papers edited by the psychologist Diana Deutsch, and A Generative Theory of Tonal Music (1983) by music theorist and composer Fred Lerdahl and linguist Ray Jackendoff. These works and others made possible the first attempts to apply scientific research to philosophical issues concerning music (e.g., Raffman 1993, DeBellis 1995). Since the 1980’s, of course, a great deal of research has been done in cognitive science, philosophy, and music. For philosophers, there are perhaps three topics with respect to which findings in the cognitive sciences are most likely to be germane—the nature of musical understanding, the role of emotions or feelings in music, and the evaluation of musical works. This brief overview will describe some of the scientific research that has been done on these topics, and then indicate how it might be philosophically significant. (shrink)
Ridley's book is both an introduction to philosophy of music generally and an introduction to an individual, pungently flavoured philosophy of music. His arguments are lively and provocative, and to boot, he writes like a dream. This is the kind of book that reminds one why philosophy matters, especially as applied to the things we love most.-Jerrold Levinson, professor of philosophy, University of Maryland This outstanding book provides new and distinctive approaches to the five (...) central topics of musical aesthetics: understanding, representation, expression, performance and profundity. The central theme is the failure of the orthodox view-that pieces of music are more or less self-contained structures of sound-accounts for important features of our musical experience, and explains why music should matter to us. Each chapter is built around a single musical work. Readers are introduced to the main positions in the philosophy of music. Ridley exposes and corrects the failure of the orthodox view and proposes fresh solutions. Additionally, Ridley offers innovative approaches to the philosophy of song, musical ontology, and to questions about the value of music. P>Features * Broad, accessible introductory overview to philosophy of music * Original and stimulating insights. (shrink)
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)
Philosophy, Music and Emotion explores two contentious issues in contemporary philosophy: the nature of music´s power to express emotion, and the nature of emotion itself. It shows how closely the two are related and provides a radically new account of what it means to say that music "expresses emotion." Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument of the nineteenth-century (...) critic Hanslick, and also to the dominant "cognitivist" approach to the nature of emotion, which sees the essence of emotion to be the entertaining of evaluative judgments and beliefs. This book argues that the cognitivist account of the nature of emotion is false and should be replaced with a conception of emotions as states of feeling. Central to this bold analysis is a new account of two closely connected mental states, desire and pleasure, and their role in human motivation. (shrink)
This article proposes to discuss the role of music within confucian philosophy as a whole and within neo-Confucian philosophy in particular. The discussion includes a consideration of the construction of chinese music; philosophical correlations drawn between musical elements and features of both macrocosm and microcosm; musical aesthetics in the confucian and neo-Confucian philosophical systems; and affinities between the nature of music and the broader outlook of confucian and neo-Confucian philosophy. The suggestion is made that (...) these affinities help to explain the prominent role of music in these two philosophical schools. (shrink)