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Over the past four decades, Richard Taruskin's publications have redefined the field of Russian-music study. This volume gathers thirty-six essays on composers ranging from Bortnyansky in the eighteenth century to Tarnopolsky in the twenty-first, as well as all of the famous names in between. Some of these pieces, like the ones on Chaikovsky's alleged suicide and on the interpretation of Shostakovich's legacy, have won fame in their own right as decisive contributions to some of the most significant debates in contemporary musicology. An extensive introduction lays out the main issues and a justification of Taruskin's approach, seen both in the light of his intellectual development and in that of the changing intellectual environment, which has been particularly marked by the end of the cold war in Europe.

Music --- Musical criticism. --- Hermeneutics (Music) --- Music criticism --- Journalism --- History and criticism. --- History and criticism --- 18th century russian music. --- 19th century russian music. --- 20th century russian music. --- 21st century russian music. --- alleged suicide. --- authoritative. --- bortnyansky. --- chaikovsky. --- classicism. --- contemporary musicology. --- dargomizhsky. --- diaghilev. --- ethnomusicology. --- mendelssohn. --- molchanov. --- music criticism. --- music. --- musicology. --- prokofieff. --- rimsky korsakov. --- russia. --- russian music. --- shostakovich. --- stalinism. --- study of music. --- tarnopolsky. --- taruskin. --- ukraine.

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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 scholarship in the aftermath of critical musicology and musical hermeneutics and in view of more recent concerns with embodiment, affect, and performance. This authoritative and timely work challenges the prevailing conceptions of every topic it addresses: language, context, and culture; pleasure and performance; and, through music, the foundations of understanding in the humanities.The publisher gratefully acknowledges the Joseph Kerman Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.

Music --- Musicology --- Knowledge, Theory of. --- Musique --- Théorie de la connaissance --- Philosophy and aesthetics. --- History and criticism. --- Philosophie et esthétique --- Musicologie --- History --- Histoire --- Knowledge, Theory of --- Music, Dance, Drama & Film --- Music Philosophy --- Epistemology --- Theory of knowledge --- Philosophy --- Psychology --- Musical research --- Research, Musical --- Popular music --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Philosophy and aesthetics --- History and criticism --- Research --- Historiography --- Théorie de la connaissance --- Philosophie et esthétique --- critical musicology. --- humanistic knowledge. --- interpreting music. --- knowledge of music. --- music appreciation. --- music teachers. --- music theory. --- musical composition. --- musical embodiment. --- musical hermeneutics. --- musical knowledge. --- musical philosophy. --- musical scholarship. --- musical thought. --- musical understanding. --- musicians. --- musicology. --- performing arts. --- speaking music. --- study of music. --- teaching music. --- thought about music. --- thought in music. --- understanding music.