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…mehr
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
Aaron Ridley is a Professor of Philosophy at the University of Southampton. He is the author of Nietzsche's Conscience: Six Character Studies from the 'Genealogy' (Cornell University Press, 1998), R.G. Collingwood: A Philosophy of Art (Orion Books, 1998) and Music, Value and the Passions (Cornell University Press, 1995) and the co-editor, with Alex Neill, of Arguing About Art (McGraw-Hill, 1995; 2nd edition: Routledge, 2002) and The Philosophy of Art (McGraw-Hill, 1995).
Inhaltsangabe
The Philosophy of Music: Theme and Variations Introduction - Music from Mars Chapter 1 Understanding Part 1.Background Part 2.Central Park in the Dark I. Music and Words II. Paraphrase III. Paraphrase and Art IV. Paraphrase and Music V. Understanding Ives Chapter 2 Representation Part 1. Background Part 2. La Cathèdrale Engloutie I. Detachable Sounds II. Cryptographical Conventions III. Musical Thoughts IV. Resemblances V. Putting the Title Last Chapter 3 Expression Part 1.Background Part 2 Cynara I. The Prejudice Against Song II. Text and Music III. Appropriateness IV. Song as Expressive Music Chapter 4 Performance Part 1. Background Part 2. Chaconne I. Against Ontology II. Some Objections III. 'Authenticity' Chapter 5 Profundity Part 1. Background Part 2. Tapiola I. The Concept of Profundity II. Expressive Profundity III. Outlooks and Attitudes IV. Two Clarifications V. Sibelius's Profundity Conclusion The Other Theme.
The Philosophy of Music: Theme and Variations Introduction - Music from Mars Chapter 1 Understanding Part 1.Background Part 2.Central Park in the Dark I. Music and Words II. Paraphrase III. Paraphrase and Art IV. Paraphrase and Music V. Understanding Ives Chapter 2 Representation Part 1. Background Part 2. La Cathèdrale Engloutie I. Detachable Sounds II. Cryptographical Conventions III. Musical Thoughts IV. Resemblances V. Putting the Title Last Chapter 3 Expression Part 1.Background Part 2 Cynara I. The Prejudice Against Song II. Text and Music III. Appropriateness IV. Song as Expressive Music Chapter 4 Performance Part 1. Background Part 2. Chaconne I. Against Ontology II. Some Objections III. 'Authenticity' Chapter 5 Profundity Part 1. Background Part 2. Tapiola I. The Concept of Profundity II. Expressive Profundity III. Outlooks and Attitudes IV. Two Clarifications V. Sibelius's Profundity Conclusion The Other Theme.
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