Influenced by methodological trends in contemporary cultural history, recent writings in music history now share a common and very basic concern: to reconcile the desire to treat musical works as purely musical entities with value and significance of their own with the desire to account for the fact that such works are conditioned by the historical, social, and psychological contexts in which they are produced. This essay places these modern reconciliations within a broader discussion of the uneasy (...) relations that hold between the domains of the musical and the extra-musical. It shows how both the logic and the history of this relationship has reflected the need to establish borders of the musical domain, and, following upon that, criteria of relevance for determining what is and what is not to be included in the writing of music history. (shrink)

There’s a common assumption that Western classical music performance essentially involves an ideal of perfect compliance: to perform a musical work, the performer must intend to play all of the notes in the score of that work, without deviating. Many accounts of musical ontology focus on Western classical music; consequently, they take this assumption to be fundamental to their accounts. However, recent musicological research reveals that this ideal is a relatively recent phenomenon, and doesn’t fit much paradigmatic classical (...) music. I use this research to argue that philosophers of music should reject the common assumption. (shrink)

Schubert's late music has proved pivotal for the development of diverse fields of musical scholarship, from biography and music history to the theory of harmony. This collection addresses current issues in Schubert studies including compositional technique, the topical issue of 'late' style, tonal strategy and form in the composer's instrumental music, and musical readings of the 'postmodern' Schubert. Offering fresh approaches to Schubert's instrumental and vocal works and their reception, this book argues that the music (...) that the composer produced from 1822–8 is central to a paradigm shift in the history of music during the nineteenth century. The contributors provide a timely reassessment of Schubert's legacy, assembling a portrait of the composer that is very different from the sentimental Schubert permeating nineteenth-century culture and the postmodern Schubert of more recent literature. (shrink)

Art and philosophy are the two major elements of the human world. The existence of art and philosophy can expand the spiritual world of human beings to a greater extent and enrich their spiritual life, thus supporting the construction of the material world. And music, as an aural art, has also been given a philosophical meaning in the evolution of history because of its birth and development. Therefore, when studying music, one should first study the history (...) of music. The philosophy of music history education is not only profound and contains world culture and philosophy, but also carries history and economy. Music history education is also a vivid art form of philosophy, where teachers create an artistic beauty to attract students and achieve the purpose of imparting knowledge by optimizing their educational philosophy. To develop the philosophy of education to its fullest extent, teachers must adhere to the concepts associated with the philosophy of art. To explain this process in greater depth, this paper provides a brief review of the aesthetic philosophy and historical evolution of Chinese. (shrink)

ABSTRACT Music’s power to express and arouse feelings has been one of its principal attributes from antiquity. While the topic remains prevalent in contemporary discourse, relatively little attention had been given to specifically melancholic expressions in European music. The article examines various stages in western music history vis-à-vis the changing formulations and receptions of melancholy as a cultural phenomenon, from the time it was perceived as a sign of either a physical or a moral problem to (...) later historical periods, when positive and negative views on melancholy intertwined. In this article, I point at an interesting connection between melancholic representations in music works and music’s unique relationship with time. As I show, prevalent conventions of pre-modern music, which manifest cyclical (or ‘theological’) structures of time, keep the listener’s experience simultaneously rooted in the present and floating in eternity. Alternatively, the linear (or ‘teleological’) sense of temporality found in early-modern and modern music works allows for the possibility of ‘looking back’ and experiencing longings. Various diachronic and synchronic temporal sensitivities, which manifest explicit (via titles or texts) or implicit melancholic feelings, are explored. Music’s linearity is shown to provide it a lost past to mourn. (shrink)

A history of music aesthetics from Antiquity to the present day. Fubini considers musical thought in terms of its relationship to philosophy, medicine, astronomy, mathematics and teaching in the period up to the Enlightenment. The second half of the book concentrates on key issues in contemporary music aesthetics, placing them in the perspective of the Enlightenment and of 19th-century philosophers.".

This book presents a comprehensive, accessible survey of Western philosophy of music from Pythagoras to the present. Its narrative traces themes and schools through history, in a sequence of five chapters that survey the ancient, medieval, early modern, modern and contemporary periods. Its wide-ranging coverage includes medieval Islamic thinkers, Continental and analytic thinkers, and neglected female thinkers such as Vernon Lee (Violet Paget). All aspects of the philosophy of music are discussed, including music and the cosmos, (...) music's value, music's relation to the other arts, the problem of opera, the origins of musical genius, music's emotional impact, the moral effects of music, the ontology of musical works, and the relevance of music's historical context. The volume will be valuable for students and scholars in philosophy and musicology, and all who are interested in the ways in which philosophers throughout history have thought about music. (shrink)

In Absolute Music: The History of an Idea, author Mark Evan Bonds examines how writers have struggled to isolate the essence of music in ways that account for its profound effects on the human spirit. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to twentieth-century America, Bonds provides the first comprehensive history of this pivotal concept, and provokes new thoughts on the essence of music and how this (...) essence explains music's effect. A long awaited book from one of the most respected senior scholars in the field. (shrink)

In Music in the Mirror, thirteen distinguished scholars explore the concept of music, music theory, and music literature as mirror images of one another?whether real or distorted. Encompassing the history of music and music theory and literature from the Middle Ages to the present, these essays, in their reconsideration of the relationships among music, theory, and literature, offer new approaches and articulate compelling visions for future research.

More than a century after Guido Adler's appointment to the first chair in musicology at the University of Vienna, Music, Criticism, and the Challenge of History provides a first look at the discipline in this earliest period, and at the ideological dilemmas and methodological anxieties that characterized it upon its institutionalization. Author Kevin Karnes contends that some of the most vital questions surrounding musicology's disciplinary identities today-the relationship between musicology and criticism, the role of the subject in analysis (...) and the narration of history, and the responsibilities of the scholar to the listening public-originate in these conflicted and largely forgotten beginnings. Karnes lays bare the nature of music study in the late nineteenth century through insightful readings of long-overlooked contributions by three of musicology's foremost pioneers-Adler, Eduard Hanslick, and Heinrich Schenker. Shaped as much by the skeptical pronouncements of the likes of Nietzsche and Wagner as it was by progressivist ideologies of scientific positivism, the new discipline comprised an array of oft-contested and intensely personal visions of music study, its value, and its future. Karnes introduces readers to a Hanslick who rejected the call of positivist scholarship and dedicated himself to penning an avowedly subjective history of Viennese musical life. He argues that Schenker's analytical experiments had roots in a Wagner-inspired search for a critical alternative to Adler's style-obsessed scholarship. And he illuminates Adler's determined response to Nietzsche's warnings about the vitality of artistic and cultural life in an increasingly scientific age. Through sophisticated and meticulous presentation, Music, Criticism, and the Challenge of History demonstrates that the new discipline of musicology was inextricably tied in with the cultural discourse of its time. (shrink)

This thesis is directed towards a philosophy of music by attention to conceptions and perceptions of space. I focus on melody and harmony, and do not emphasise rhythm, which, as far as I can tell, concerns time rather than space. I seek a metaphysical account of Western Classical music in the diatonic tradition. More specifically, my interest is in wordless, untitled music, often called 'absolute' music. My aim is to elucidate a spatial approach to the world (...) combined with a curiosity about the nature of the Pythagorean intervals. Thus one question I seek to answer is: What do the Pythagorean intervals import to music? In their original formulation by Pythagoras, and further, by Plato, their import seemed mystical and analogous to a 'harmony of the spheres.' In this spatial approach, the Pythagorean intervals are indicative of infinite depth. The faculty of hearing alone does not ordinarily spatially locate sources. Hearing is ordinarily combined with sight in order to spatially locate a sound. Yet we talk about music as if it were spatially located, that is, as if it were a visible object with a surface and themes or 'objects'. I explore the faculty of vision and consider in what ways the processes of vision might be similar to and distinct from audition. My source for this approach is David Marr's book 'Vision' and his theory of the 2 1/2-dimensional sketch. In a medium in which there is no spatial location, it is important to situate the listener. Newton solved the problem of location by demonstrating the effects of gravity. P. F. Strawson claims that an analogy of distance is required in hearing to situate the listener, that is, a sense of nearer to and further from a source or object that permits a perception of distance. I claim that in music, the key signature and the scalar relations of musical themes provide this analogy of distance. The works of Plato, Aristotle, Descartes, Leibniz, and Newton are studied for their accounts of motion, bodies, and space. From these metaphysicians can be gleaned elements of music that include form, motion, timbre, dynamics, and attraction. By incorporating motion, I aim to show that although we may not know the true nature of space, we can learn from hearing music that space is perceptible in other than three dimensions. (shrink)

As illustrated in Goethe's famous novel of the same name, elective affinities are powerful relationships that crystallize under changing conditions. 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. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A History of American Music EducationSondra Wieland HoweA History of American Music Education, 3rd edition, by Michael L. Mark and Charles L. Gary. Lanham, MD: Rowman and Littlefield Education, 2007, 500 pp., $95.00 cloth, $44.95 paper.Mark and Gary's editions of A History of American Music Education are indispensable reading for every music education student, practicing professional music educator, and the (...) general reader who is interested in the development of music teaching in American public schools. Based on excellent secondary sources, this history presents an overview of music education from Colonial America, through the development of textbooks in the nineteenth century and the growth of professional organizations in the early twentieth century, to the expansion of the curriculum and the role of government in education since 1950.This third edition is written by Michael L. Mark, professor emeritus at Towson University in Maryland, and dedicated to the memory of his friend and coauthor, Charles L. Gary.1 Mark has written two other books that complement the history editions. Contemporary Music Education surveys various reform projects since the 1950s, trends in the philosophy of music education, government policies, and the development of new methods.2Music Education: Source Readings includes writings about music education from both the European and American perspectives.3 There are many recent articles and dissertations on the history of music education, but the only recent book is Terese Volk's Music, Education, and Multiculturalism, which describes school programs and materials emphasizing multiculturalism in the twentieth century from a historical perspective.4 Publications in musicology add to our knowledge of the history of music in American society, but musicologists rarely write about music in public schools. Publications on the history of education are helpful in understanding trends in music education, but these publications do not discuss music.The third edition of A History of American Music Education is expanded to 500 pages from the approximately 400 pages of the earlier editions, largely because of new formatting and [End Page 115] spacing that make the third edition easier to read. Each chapter has a reference list in APA style in contrast to the Chicago Manual style of the earlier editions, with endnotes plus a bibliography at the end of each chapter. The material in Mark's third edition is basically the same as the earlier editions, with some expansion of the history of music education after 1950.This book, based on secondary sources, is an overview of the history of music in American public schools, showing the response of education to societal needs during various historical periods. There is an emphasis on the role of national music organizations, especially MENC: The National Association for Music Education (MENC), in advocating for the importance of music for every child. The historical account includes the various justifications for teaching music and discussions of the meaning of music. There were times when music educators were interested in aesthetics, but there were also many times when they were mainly interested in a practical understanding of music and extrinsic motives for including music in the school curriculum.5The first section on "The Western Heritage" (chapters 1-3) briefly covers music in Jewish traditions through the Greek and Roman cultures because the insights of these ancient thinkers influenced all Western societies. The chapter on the Middle Ages through the Reformation shows the role of music as a practical subject, part of the quadrivium with arithmetic, geometry, and astronomy. As music became an integral part of the church, musicians developed methods of teaching note reading. Martin Luther promoted the singing of "good music" in schools and education in the vernacular for the middle classes. With the development of Italian conservatories and the patronage of music by the elite classes of the Renaissance, music training became specialized for musicians working in the church and courts. These various conflicting European opinions of the role of music in society influenced American education.The second section on "The New World" (chapters 4-5) emphasizes the use of music as a means of praising God. Spanish musicians established successful music education programs in Peru and Mexico to promote Christianity. The French brought Christianity to... (shrink)

In claiming that metadata possess the power to put historical awareness into the act of listening, this article examines digital music use as an aesthetic situation driven by potentialities of becoming. Working from a theoretical foundation amalgamating digital music archives and metadata as environments the article discusses Georgina Born’s notion of musical assemblages alongside the concept of virtuality, and by letting these meet the article argues for a musical assemblage built from sensibilities of becoming rather than layers of (...) mediation. The inner workings of digital music use constitute an ecology in which recorded music history moves and reconnects, and this makes the historicity of recorded music be fluid, thus turning listening into a historicised action. In exemplifying this, the article discusses some of the strategic programming of metadata on the digital music platform Diskoteket, and through an analysis of sampled music, the prospects of recorded music’s historicity are shown as affective capacities. (shrink)

With a characteristically broad and provocative treatment, Dahlhaus examines a single music-aesthetical idea from various historical and philosophical viewpoints. "Essential reading for anyone interested in the larger intellectual framework in which Romantic music found its place, a framework that to a remarkable degree has continued to shape our image of music."--Robert P. Morgan, Yale University Carl Dahlhaus (1928-1989) is the author of a highly influential body of works on the foundations of music history and aesthetics.

This study investigated individuals with adventitious visual impairment acquired during adulthood through a traumatic event, for an in-depth and contextual understanding of the factors and processes that led to positive changes in their post-traumatic growth. The life history method was applied on 15 individuals with AVI through in-depth interviews about their life. The study’s analytical framework involved three domains: dimensions, turnings, and adaptations of life, as proposed by Mandelbaum. The results revealed the following key factors: of the dimensions of (...) life—family, rehabilitation center, and music groups; of turnings of life—positive change through awareness and tolerance of impairments, new challenge posed by rehabilitation training, and finding inner resources through music; and of adaptations of life—accepting one’s life in a harsh social environment, actively establishing relationships with others as an individual with visual impairment, and re-finding meaning of life through musicing. This study contributes by revealing the role of each of the above-mentioned factors and identifying their correlations. The results suggest that musicing may help individuals with AVI develop empathy and engage in social communication through active self-disclosure. (shrink)

A good, single volume history of the philosophy of music would be nice to have, but I do not think that the book under review here is it. (Full disclosure: I am.

This book endeavours to pinpoint the relations between musical, and especially instrumental, practice and the evolving conceptions of pitch systems. It traces the development of ancient melodic notation from reconstructed origins, through various adaptations necessitated by changing musical styles and newly invented instruments, to its final canonical form. It thus emerges how closely ancient harmonic theory depended on the culturally dominant instruments, the lyre and the aulos. These threads are followed down to late antiquity, when details recorded by Ptolemy permit (...) an exceptionally clear view. Dr Hagel discusses the textual and pictorial evidence, introducing mathematical approaches wherever feasible, but also contributes to the interpretation of instruments in the archaeological record and occasionally is able to outline the general features of instruments not directly attested. The book will be indispensable to all those interested in Greek music, technology and performance culture and the general history of musicology. (shrink)

Music in the Flesh reimagines the lived experiences of music-making subjects (composers, musicians, listeners) in the long European seventeenth century. There are countless historical testimonies of the powerful effects of music upon early-modern bodies, described as moving, ravishing, painful, dangerous, curative, miraculous, and encompassing "the circulation of the humors, purification of the blood, dilation of the vessels and pores. In asking what this all meant at the time, the author considers musical scores and their surrounding texts as (...) "somatic scripts" that afford a range of somatic actions and reactions and can give us a glimpse into the historical embodied experience of organized sound. Starting from the Lutheran hymns and their accompanying intellectual traditions and ritual practices in German-speaking lands, the book moves with ease across repertories and regions, sacred and vernacular musics, domestic and public settings in order to sketch a "physiology of music" that is as historically illuminating as it is relevant for present-day performing practices and that sheds unprecedented light on how subjectivity was embodied through sound in early-modern Europe. (shrink)

Ranging from Antiquity to contemporary analytic philosophy, this book provides a concise but thorough analysis of the arguments developed by some of the most outstanding philosophers of all times. Besides the aesthetics of music proper, the volume touches upon metaphysics, ethics, philosophy of language, psychology, anthropology, and scientific developments that have influenced the philosophical explanations of music. Starting from the very origins of philosophy in Western thought (Pythagoras, Plato, Aristotle) the book talks about what music is according (...) to Augustine, Descartes, Leibniz, Rousseau, Kant, Hegel, the Romantics, Schopenhauer, Nietzsche, Wittgenstein, Susanne Langer, Bloch, Adorno, and many others. Recent developments within the analytic tradition are illustrated with particular attention to the ontology of the musical artwork and to the problem of music and emotions. (shrink)

Examining a series of modernist thinkers and composers who engaged with non-European cultures as they pursued pure sound as a privileged presence, White Musical Mythologies pairs Erik Satie with Bergson, Edgard Varèse with Bataille, Pierre Boulez with Artaud, and John Cage with Derrida to offer an ambitious intellectual history of the colonial roots of modernist musical thought. Each of the musicians studied in this book re-created or appropriated non-European forms of expression as they conceived music ontologically, often thinking (...) music as something immediate and immersive: from Satie's dabblings with mysticism and exoticism in bohemian Montmartre of the 1890s to Varèse's experience of ethnographic exhibitions and surrealist poetry in 1930s Paris, and from Boulez's endeavor to theorize a kind of musical writing that would "absorb" the sounds of non-European musical traditions to Cage, who took inspiration from Eastern thought as he wrote about sound, silence, and chance. Edmund Mendelssohn suggests that the Euro-American idea of "pure sound," and the twentieth-century quest to produce it, was premised on an assumed authority of "the West" over Europe's others. Intended for readers in philosophy, musicology, art theory, the history of modernism, sound studies, and postcolonial studies, this book demonstrates that we cannot fully understand French theory in its novelty and complexity without music and sound. (shrink)

From Music to Sound is an examination of the six musical histories whose convergence produces the emergence of sound, offering a plural, original history of new music. Both well-known and lesser-known works and composers are anaylsed in detail, from Debussy to contemporary music in the early 21st century; from rock to electronica; from the sound objects of the earliest musique concrète to current electroacoustic music; from the Poème électronique of Le Corbusier-Varèse-Xenakis to the most recent (...) inter-arts attempts. Covering theory, analysis and aesthetics, this book will be of great interest to scholars, professionals and students of Music, Musicology, Sound Studies and Sonic Arts. (shrink)

This book is the first to put forward a general theory of the manner in which different media--music, words, moving picture, and dance--work together to create multimedia. Beginning with a study of the way in which meaning is mediated in television commercials, the book concludes with in-depth readings of Disney's Fantasia, Madonna's video Material Girl, and Armide (Godard's sequence from the collaborative film Aria). Analysing Musical Multimedia not only shows how approaches deriving from music theory can contribute to (...) the understanding of multimedia, but also seeks to draw conclusions from the practice and further development of musical analysis. (shrink)

Musical values -- Back to Beethoven -- A state of crisis? -- An imaginary object -- A matter of representation -- Music and the academy -- Music and gender.

Homo aestheticus -- The Greeks -- The Age of Enlightenment -- A time of consolidation -- A period of expansion -- The present : the use of music : the transformation of aesthetics.

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. (...) Here, I argue for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

Music and Postwar Transitions in the 19th and 20th Centuries is the first book to highlight the significance of the idea of 'postwar transition' in the field of music and to demonstrate how the contribution of musicians, composers, and their publics have influenced contemporary understandings of war. At the intersection of four domains including: the relationship between music and war culture, commemorative and consolatory dimensions of music, migration and exile, and the links between music, cultural (...) diplomacy, and propaganda, leading historians, political scientists, psychologists, and musicologists explore disruptions and connections to music through the backdrop of war. In turn, this volume sheds new light on what has been a blind spot in a growing historiography. (shrink)

How does music ‐ or any cultural artefact ‐ assume significance for those who encounter it? Why does one sound or image come to matter, while others are overlooked or forgotten? The answer is not to be found in the sounds alone, but in the context and conditions in which they are heard. This article explores this argument by considering the case of The Anthology of American Folk Music, a set of recordings from the 1920s and 1930s, which (...) has exercised an extraordinary power over popular music since its release in 1952. Using the arguments expounded by Robert Cantwell and Greil Marcus, and pointing to the uses of music in establishing national identities and mobilising social movements, the article argues for an understanding of music's significance that links social experience, aesthetic pleasure and political values. (shrink)

Electronic dance music has much about it to interest philosophers. In this article, I explore facets of dance music cultures, using the issue of authenticity as a framing question. The problem of sorting real or authentic dance music from mainstream or commercial clubbing can be treated as a matter of history and genre-definition; as a matter of defining scenes or subcultures; and as a matter of blackness. In each case, electronic dance music, and critical discourse (...) surrounding it, offers fresh illumination of aesthetic questions. I briefly characterise the main genres of dance music, match conversations about the hardcore continuum with philosophers’ accounts of genre, survey sociologists’ ways of thinking about cultures and their connections to taste and personal identity, and link criticisms that dance music now lacks blackness to conceptions of black aesthetics. This article is Part I of two; Part II focusses on dancers, DJs, and the aesthetics and ontology of dance music itself. Video abstract. (shrink)