Aesthetics and MusicBloomsbury Publishing, 29 cze 2007 - 258 The Continuum Aesthetics Series looks at the aesthetic questions and issues raised by all major art forms. Stimulating, engaging and accessible, the series offers food for thought not only for students of aesthetics, but also for anyone with an interest in philosophy and the arts. Aesthetics and Music is a fresh and often provocative exploration of the key concepts and arguments in musical aesthetics. It draws on the rich heritage of the subject, while proposing distinctive new ways of thinking about music as an art form. The book looks at: The experience of listening Rhythm and musical movement What modernism has meant for musical aesthetics The relation of music to other 'sound arts' Improvisation and composition as well as more traditional issues in musical aesthetics such as absolute versus programme music and the question of musical formalism. Thinkers discussed range from Pythagoras and Plato to Kant, Nietzsche and Adorno. Areas of music covered include classical, popular and traditional music, and jazz. Aesthetics and Music makes an eloquent case for a humanistic, democratic and genuinely aesthetic conception of music and musical understanding. Anyone interested in what contemporary philosophy has to say about music as an art form will find this thought-provoking and highly enjoyable book required reading. |
Spis treści
| 1 | |
| 10 | |
2 The Concept of Music | 40 |
aesthetics of music in the late eighteenth and nineteenth centuries | 66 |
4 The Sound of Music | 95 |
5 Rhythm and Time | 119 |
music as autonomous and social fact | 153 |
7 Improvisation and Composition | 192 |
| 218 | |
| 234 | |
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absolute music abstract accent acousmatic experience acousmatic thesis acoustic Adorno aesthetic conception aesthetics of expression aesthetics of music aesthetics of perfection Ancient Greece argues Aristoxenus art for art's art's sake artistic artworks autonomous art avant-garde beat Beethoven believe characterization claim classical composer composition conception of music concern contrast critical Dahlhaus dialectical direct social function discussed in Chapter eighteenth century electronic music elements essential Greek Hamilton forthcoming Hanslick harmony Hegel historical holism human humanistic idea improvisation instance instrumental music interpretation involves jazz John Cage Kant Kant's kind language Lee Konitz listening material melody metre metrical modern modernist movement musical experience musical sounds musique concrète muzak nature Nietzsche non-acousmatic notation object Paddison painting performance philosophical piano pitch plainchant Plato poetry pulse pure Pythagorean refers regarded rejects rhythm rhythmic Sadie and Tyrrell Schaeffer Schoenberg Schopenhauer Scruton sense spontaneity stress structure tonal tones traditional Western art music writes