Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

In this new book, Lydia Goehr focuses on the history of elective affinities between philosophy and music from German classicism, romanticism, and idealism to the modernist aesthetic theory of Theodor W. Adorno and Arthur C. Danto. Aesthetic theory, she argues, depends on a dynamic philosophy of history centered on tendencies, yearnings, needs, and potentialities. With this in mind, she recasts the theses of Adorno and Danto regarding the death or end of philosophy, art, music, and human experience as arguments for continuation and survival. Elective Affinities tracks the migration of aesthetic and critical theory from Germany to the United States following the catastrophic period of the twentieth century marked by the Second World War.

Music and philosophy. --- Music --- Philosophy and aesthetics. --- Musique --- Musique et philosophie --- Philosophie et esthétique --- Aesthetics --- Esthetica --- Music and philosophy --- Hermeneutics (Music) --- Musical aesthetics --- Music theory --- Philosophy and music --- Philosophy --- Philosophy and aesthetics

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This is a guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over 50 entries by an international team of contributors are organised into six sections.

Music --- Music and philosophy. --- Musique --- Musique et philosophie --- Philosophy and aesthetics. --- Philosophie et esthétique --- Music and philosophy --- Philosophie et musique --- Muziekfilosofie --- 575 --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy and music --- Philosophy --- Philosophy and aesthetics --- Philosophie et esthétique --- Philosophie et musique. --- Philosophie et esthétique. --- Music - Philosophy and aesthetics --- Filosofie

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

What is rhetorical music? In The Pathetick Musician, Bruce Haynes and Geoffrey Burgess illustrate the vital place of rhetoric and eloquent expression in the creation and performance of Baroque music. Through engaging explorations of the cantatas of J.S. Bach, the authors explode the conventional notion of historical authenticity in music, proposing adventurous new directions to reinvigorate the performance of early music in the modern setting. Along the way, Haynes and Burgess investigate intersections between music and oratory, dance, gesture, poetry, painting and sculpture, and offer insights into figural elaboration, articulation, nuance and temporality. Aimed primarily at performers of Baroque music, the book situates the study of performance practice in a broader cultural context, and as much as an invaluable resource for advanced study, it contains a wealth of information that pertains directly to anyone working in the field of early music. Based on a draft sketched by celebrated Baroque oboist and early music scholar Bruce Haynes before his death in 2011, The Pathetick Musician is the fruit of the combined wisdom of two musicians renowned equally for their contributions as performers and scholars. Drawing on an impressive array of Classical treatises on oratory, musical autographs and performance accounts, it is an essential companion to Haynes' controversial The End of Early Music. Geoffrey Burgess has taken up the broader claims of Haynes' philosophy to create a practical, accessible text that will be stimulating for all musicians interested in the rediscovery of early music. With copious musical examples, contemporaneous works of art, and a companion website with supplementary audio recordings, The Pathetick Musician is an invaluable resource for all interested in exploring new expressive possibilities in the performance and study of Baroque music.

Music --- Musique --- Philosophy and aesthetics --- Philosophy and aesthetics. --- Philosophie et esthétique --- Philosophie et esthétique --- Music - 17th century - Philosophy and aesthetics --- Music - 18th century - Philosophy and aesthetics --- Uitvoeringspraktijk --- Muziekfilosofie --- Muziekesthetica --- Barok

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Music --- Philosophy and aesthetics --- Muziekesthetica --- 18e eeuw --- 19e eeuw

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This book is born out of two contradictions: first, it explores the making of meaning in a musical form that was made to lose its meaning at the turn of the nineteenth century; secondly, it is a history of a music that claims to have no history - absolute music. The book therefore writes against that notion of absolute music which tends to be the paradigm for most musicological and analytical studies. It is concerned not so much with what music is, but with why and how meaning is constructed in instrumental music and what structures of knowledge need to be in place for such meaning to exist. From the thought of Vincenzo Galilei to that of Theodore Adorno, Daniel Chua suggests that instrumental music has always been a critical and negative force in modernity, even with its nineteenth-century apotheosis as 'absolute music'.

Music --- Absolute music --- Absolute muziek --- Musique absolue --- Absolute music. --- Musique pure --- Musique --- Philosophy and aesthetics --- Philosophie et esthétique --- Philosophy and aesthetics. --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Abstract music --- Philosophy --- Muziekfilosofie --- Muziekesthetica