Filozofija umjetnosti u mišljenju Anande Kentisha Coomaraswamyja povezana je tradicionalnom filozofijom. Estetika, u modernom smislu, nema veze s tradicionalnom filozofijom umjetnosti, čiji temeljni princip nije »umjetnik je posebna vrsta čovjeka«, nego »svaki je čovjek posebna vrsta umjetnika«. Coomaraswamy nastoji redefinirati suvremeni pristup umjetnosti. Suvremeni umjetnici ne stvaraju svoja djela u skladu s Vječnim Istinama. Apstraktna umjetnost nije ikonografija transcendentalnih formi nego stvarna slika razjedinjenog uma. U cilju redefiniranja pristupa umjetnosti, temeljni se jezik umjetnosti mora promijeniti; edukatori i kustosi moraju biti (...) odgovorni za poučavanje o istinskoj prirodi umjetnosti; umjetnost ne može biti jednaka estetskom iskustvu; društvo se mora reorganizirati u društvo bazirano na vokaciji, što je analogno Platonovu mišljenju.Philosophy of Art in the thinking of Anande Kentish Coomaraswamy is connected with traditional philosophy. Aesthetics in modern sense has nothing to do with traditional philosophy of art which basic principle is “The artist is not special kind of man” but “Every man is special kind of artist”. Coomaraswamy wants to redefine contemporary approach to art. Contemporary artist does not create in accordance with Eternal Truth.art is not iconography of transcendental forms but real picture of disoriented mentality. In order to redefine approach to art basic language of art must be changed; educators and curators must have responsibility to teach about true nature of art; art can not be equal with esthetic experience; society must be reorganized into one that is based on vocation in analogy with Plato’s thought. (shrink)

The international pharmaceutical industry has made significant efforts towards ensuring compliant and ethical communication and interaction with physicians and patients. This article presents the current status of the worldwide governance of communication practices by pharmaceutical companies, concentrating on prescription-only medicines. It analyzes legislative, regulatory, and code-based compliance control mechanisms and highlights significant developments, including the 2006 and 2012 revisions of the International Federation of Pharmaceutical Manufacturers and Associations (IFPMA) Code of Practice.

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)

Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.

Introduction -- Prelude: a paradox of the ineffable. Schopenhauer's deep copy ; The Platonic solutions ; Four dialectical responses (after Nietzsche) -- Bloch's tone. The tone ; The natural klang ; The expressive tone ; Bloch's magic rattle ; The tone's inner ineffability ; The event-forms ; A dialectical account of music history ; Utopian musical speech -- Adorno's musical fracture. Adorno's tone ; Adorno's conception of history ; The tendenz des materials ; Music's language-like ineffability ; The (...) immanent critique ; The paradox of Mahler's vernacular ; The curve of inconsistency -- Interlude: Wittgenstein's silence -- Jankelevitch's inconsistency. Bergson and the inconsistency of time ; The aporetic source of fidelity ; Charm ; Cosmic silence ; Unwoven dialectics -- Deleuze and Guattari's rhythm. Deleuze's rhythm ; The rhythm of sense ; A structuralist quadrivium ; The rhythm of life ; Sonorous co-extensions -- Conclusion: a paradox of the vernacular. (shrink)

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)

Music as an Imitation of Harmonious Balance.

"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)

In lieu of an abstract, here is a brief excerpt of the content:Otto Rudolph Ortmann, Music Philosophy, and Music EducationDavid J. GonzolWhat is music? What should we teach when we teach music? How should we? In the early twentieth century, these most foundational questions relating to music education were addressed by the highly regarded, though less well known, educator and researcher, Otto Rudolph Ortmann. In 1922, he published an article in which he outlined a (...) theory of musical experience, developing aspects of the physics of sound, qualitative theory, and Gestalt psychology, prefiguring important ideas in music philosophy. Ortmann highly valued his theory, utilized it in other research throughout his career, and influenced others such as Carl Seashore. Few, however, seem to be aware of his work or its implications for music education.1The seminal 1922 article, "The Sensorial Basis of Music Appreciation," was written while Ortmann was teaching at the Peabody Conservatory of Music and Johns Hopkins University in Baltimore, Maryland.2 While this article has received little attention, much of his other research has been widely and well received.3 "Papa Ortmann," well beloved of family and students, had a career Gerig characterized as "a wedding between Materia Medica and Frau Musica."4 A prolific [End Page 160] researcher, superb musician, and excellent teacher, he published articles on music theory (one of which was reprinted and extended in 1983), musicology, music reading, ear training, synesthesia, and jazz.5 His research on piano performance, particularly his two books,6 is regarded as definitive; it has been discussed in a thesis and four dissertations; some of it has been replicated. In Famous Pianists and Their Technique, Gerig devoted a chapter to Ortmann.7 Ortmann's theory of listening types, in effect a theory of music cognition,8 was accepted by Robert Neidlinger, Doreen Rao, and Bennett Reimer.9 In the 1992 Handbook of Research on Music Teaching and Learning, F. R. Wilson and F. L. Roehmann praised the significance of Ortmann's body of research as undiminished in importance in music education.10It may be that Ortmann's "Sensorial Basis"theory received little attention at the time because too few were interested in such theories or in the synthesizing of science and psychology or the touching on philosophy that he employed. Although he influenced Seashore, the philosophical issues he began to explore would be developed more strongly only decades later, by philosophers such as Monroe Beardsley, Peter Kivy, and Jerrold Levinson. It seems that Ortmann's theory not only prefigures some ideas in recent music philosophy, but supports them as well. If it does, then our increased understanding of music can provide a firmer basis for developing better music education-one of Ortmann's aims. In this article I will describe his theory, sketch how it aligns with subsequent research, and consider its value today. Ortmann attempted a comprehensive explanation of music's nature; as far as his explanation is accurate, that far it can help us understand music and in turn music education.Three "Attributes"At the turn of the 1900s, it was popular to refer to "attributes" of sound. Ortmann posited that all sensation, including sound, has three types of attributes. The primary attribute he termed extensity, by which he meant the breadth of the sensation that is perceived. Extensity has three forms, transtensity (frequency), intensity (strength), and protensity (duration). These can be perceived individually but also as sound's secondary attributes, chief of which is quality. Tertiary attributes of sound are made through association, either by (a) contiguity, linking a sound's quality with things experienced near in time to the sound, or by (b) similarity, associating the quality with sensations of like extensity (for example, the expressive brightness of a sound and a light). Ortmann believed that tertiary attributes form "the threshold of musical imagination, and imagination in turn, of musical enjoyment."11 Accordingly, he concluded that music could express many things, and that this is dependent on listeners, their individual histories, and their entire field of sensations. [End Page 161]The Primary Attribute of ExtensityIn the Renaissance, Benedetti and Galileo found that pitch was related to frequency, and in 1702, Sauveur was the first to state that overtones affect timbre. In 1863, Helmholtz... (shrink)

Bloch's Teppich : an initial approach -- On the genealogy of the Teppich metaphor before Bloch -- The conceptual constellation of Bloch's musical philosophy -- Entering Bloch's musical system -- Wagner's animal lyricism -- Bloch's vision of the armored men, or the limits of enlightenment -- The achievement of symphonic authenticity -- Epilogue : an atheism of presence and absence.

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)

Occultism and esotericism flourished in 19th-century France as they did nowhere else. Many philosophers sought the key to the universe, and some claimed to have found it. In the unitive vision that resulted, music invariably played an important part.

Shared Musical Lives makes the case for the epistemological and ethical significance of musical experience. Music can be a source of self-knowledge and self-expression, and hence reveal important dimensions of the self to others. This knowledge - of both self and of others - has a moral force as well. Shared musical experience can transform and establish new modes of being with others, cultivate virtues, and expand the moral imagination. The term sonification (which means translating data into non-verbal audible (...) tones) provides an organizing principle for the arguments in the book.Transposing the concept into a philosophical key, this book explores two forms of sonification: first, the process by which musical experience reveals dimensions of the self and relationships with others; and second, philosophical sonification, or the critical examination of philosophical concepts,arguments, and theories in view of what musical experience reveals. These two kinds of sonification are discussed specifically in the context of disability. In this book, author Licia Carlson brings the musical lives of people with cognitive and intellectual disabilities into the foreground in order to challenge and broaden existing conceptions of disability and music and provide new ways of thinking about the philosophies of music and disability. (shrink)

The most important structural feature of the music of the New World is its often-time polyrhythmic and polymetrical character. This is also a key to unlocking the nature of social form and democratic persona in the diasporic and settler metropolises of the New World. In such settings, composers and musicians working with simultaneous temporalities, lines, groups, textures and characters offer intimations of a just totality for culturally fragmented societies.

In this chapter, I discuss the kinds of understanding expected of and evinced by skilled listeners, performers, analysts, and composers. I confine the discussion to Western, purely instrumental music, mainly with the classical tradition in mind.[1] And I refer primarily to the Anglophone literature of "analytic" philosophy of music. As will become apparent, my concern is with an analysis that maps what are meant to be familiar aspects of musical experience. I investigate the various understandings expected of (...) an accomplished listener, the performer, the music analyst, and the composer. (shrink)

A landmark work from the founder of the Frankfurt School. A key work in the study of Adorno, of interest to students and general readers alike.

[Tnis is a new translation of Adorno's Philosophie der neuen Musik. The older translation has the title 'Philosophy of Modern Music'. -NJ].

The book is prefaced by the editors’ original introduction, presenting music philosophy in Germany before and after Kant, as well as a new introduction and ...

Though many well-known German philosophers have devoted considerable attention to music and its aesthetics, surprisingly few of their writings on the subject have been translated into English. Stefan Lorenz Sorgner, a philosopher, and Oliver Fürbeth, a musicologist, here fill this important gap for musical scholars and students alike with this compelling guide to the musical discourse of ten of the most important German philosophers, from Kant to Adorno. _Music in German Philosophy_ includes contributions from a renowned group of ten (...) scholars, including some of today’s most prominent German thinkers, all of whom are specialists in the writers they treat. Each chapter consists of a short biographical sketch of the philosopher concerned, a summary of his writings on aesthetics, and finally a detailed exploration of his thoughts on music. The book is prefaced by the editors’ original introduction, presenting music philosophy in Germany before and after Kant, as well as a new introduction and foreword to this English-language addition, which places contemplations on music by these German philosophers within a broader intellectual climate. (shrink)

While acknowledging that Pierre Boulez is not a philosopher, and that he is wary of the potential misuse of philosophy with regard to music, this study investigates a series of philosophically charged terms and concepts which he uses in discussion of his music. Campbell examines significant encounters which link Boulez to the work of a number of important philosophers and thinkers, including Adorno, Lévi-Strauss, Eco and Deleuze. Relating Boulez's music and ideas to broader currents of thought, (...) the book illuminates a number of affinities linking music and philosophy, and also literature and visual art. These connections facilitate enhanced understanding of post-war modernist music and Boulez's distinctive approach to composition. Drawing on a wide range of previously unpublished documentary sources and providing musical analysis of a number of key scores, the book traces the changing musical, philosophical and intellectual currents which inform Boulez's work. (shrink)

A musical experience is marked by the synthesis of passion and rationality, emotion and understanding, and body and mind. Ferrara demonstrates that each method of musical analysis confines musical significance to a single level. He devises an "eclectic method" that provides bridges for musical sound, form, and reference. In response to the multiplicity of levels of musical significance Ferrara's eclectic method draws upon a wide-ranging number of conventional and nonconventional approaches to musical analysis which results in a dialectic of methods.

This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters (...) 2-5 investigate the most commonly defended sources of musical value: its emotional power, its form, and specifically musical features (such as pitch, rhythm, and harmony). In chapters 6-9, Kania explores issues arising from different musical practices, particularly work-performance (with a focus on classical music), improvisation (with a focus on jazz), and recording (with a focus on rock and pop). Chapter 10 examines the intersection of music and morality. The book ends with a consideration of what, ultimately, music is. (shrink)

New and distinctive approaches to five central topics in musical aesthetics are provided in this outstanding book. The topics are: understanding, representation, expression, performance and profundity.

This volume presents a new collection of essays on music by Jerrold Levinson, one of the most prominent philosophers of art today. The essays are wide-ranging and represent some of the most stimulating work being done within analytic aesthetics. Three of the essays are previously unpublished, and four of them focus on music in the jazz tradition.

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)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

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)

_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 music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.

Excerpt from The Philosophy of Modernism (in Its Connection With Music) The prerequisite to immortality in the world of art is the capacity to create something new, or, in other words, the capacity to invent a style. Indeed, let any one but survey the past history of music, poetry and painting, and he will notice that each great name stands for a literary or musical invention: so that to talk of Keats or Shelley, Beethoven or Wagner, is (...) not to talk of men only, but also of very distinct styles of art. And this capacity to create something new proceeds from a certain divine discontent - divine, because it stimulates evolution, is mild and pleasant, yet just sufficient to prevent the man who possesses it from sinking into that unprogressive lassitude so often associated with a good glass of port wine, a widow's cruse of tobacco, and a rather soporific fireside. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (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)

This book provides instances of what the technology and semantic field of music have contributed to the development of epistemology, logic and the early modern sciences of developmental biology, continuum mechanics anatomy and physiological psychology, as well as what some other domains have given back to the philosophy and theory of music.

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)

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)

This surveys the philosophies of music of the most important thinkers in Islam between the 9th and the 15th centuries A.D. It covers topics ranging from the ...

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 →.