Scholars explore from many fresh angles the interweavings of two of the richest strands of human culture-music and esotericism-with examples from the medieval period to the modern age. Music and esotericism are two responses to the intuition that the world holds hidden order, beauty, and power. Those who compose, perform, and listen to music have often noted that music can be a bridge between sensory and transcendent realms. Such renowned writers as Boethius expanded the definition of (...) music to encompass not only sounded music but also the harmonic fabric of human and cosmic life. Those who engage in pursuits called "esoteric," from ancient astrology, magic, and alchemy to recent and more novel forms of spirituality, have also remarked on the relevance of music to their quests. Esotericists have composed music in order to convey esoteric meaning, performed music to create esoteric influences, and listened to music to raise their esoteric awareness. The academic study of esotericism is a young field, and few researchers have probed the rich interface between the musical and esoteric domains. In Explorations in Music and Esotericism, scholars from numerous fields introduce the history of esotericism and current debates about its definition and extent. The book's sixteen chapters present rich instances of connections between music and esotericism, organized with reference to four aspects of esotericism: as a form of thought; as the keeping and revealing of secrets; as an identity; and as a signifier. Edited by Marjorie Roth and Leonard George. Contributors: Elizabeth Abbate, Malachai Komanoff Bandy, Adam Bregman, Charles E. Brewer, Benjamin Dobbs, Anna Gawboy, Pasquale Giaquinto, Adam Knight Gilbert, Joscelyn Godwin, Virginia Christy Lamothe, Andrew Owen, Christopher Scheer, Codee Ann Spinner, Woodrow Steinken, and Daphne Tan. (shrink)

This book analyzes the relationships that exist between esotericism and music from Antiquity to the 20th century, investigating ways in which magic, astrology, alchemy, divination, and cabbala interact with music. Ce livre offre un panorama des relations entre l sot risme et la musique de l Antiquit au 20 me si cle et montre comment la magie, l astrologie, l alchimie, la divination et la cabale interagissent avec l art et la science des sons.

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, (...) or watching TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

Known today mostly as an author of Romantic short stories and fairy tales for children, Prince Vladimir Odoyevskiy was a distinguished thinker of his time, philosopher and bibliophile. The scope of his interests includes also history of magic arts and alchemy, German Romanticism, Church music. An attempt to understand the peculiarity of eight specific modes used in chants of Russian Orthodox Church led him to his own musical theory based upon well-known writings by Zarlino, Leibniz, Euler, Prony. He (...) realized his theoretical ideas in an enharmonical piano with nineteen notes for every octave. His call for a different musical scale remained largely ignored in the nineteenth century, until the topic was raised anew by twentieth-century composers and musicians. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, (...) or watching TV, as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

Boring Formless Nonsense intervenes in an aesthetics of failure that has largely been delimited by the visual arts and its avant-garde legacies. It focuses on contemporary experimental composition in which failure rubs elbows with the categories of chance, noise, and obscurity. In these works we hear failure anew. We hear boredom, formlessness, and nonsense in a way that gives new purchase to aesthetic, philosophical, and ethical questions that falter in their negative capability. Reshaping current debates on failure as an aesthetic (...) category, eldritch Priest shows failure to be a duplicitous concept that traffics in paradox and sustains the conditions for magical thinking and hyperstition. Framing recent experimental composition as a deviant kind of sound art, Priest explores how the affective and formal elements of post-Cagean music couples with contemporary culture's themes of depression, distraction, and disinformation to create an esoteric reality composed of counterfactuals and pseudonymous beings. Ambitious in content and experimental in its approach, Boring Formless Nonsense will challenge and fracture your views on failure, creativity, and experimental music. (shrink)

Communication: Man's Primordial Need ORGANIC LIFE IN THE EARTH'S biosphere requires organisms to relate to other organisms. Human beings are particularly ...

In lieu of an abstract, here is a brief excerpt of the content:Meditations on the Letter A:The Hand as Nexus Between Music and LanguageEleanor V. StubleyThe image is that of a little girl. She stands alone, center-stage, her lips moving quietly as she rehearses the letters of the alphabet so that her forthcoming performance will be fresh and perfect. Her name is called. She takes a deep breath and begins, haltingly, doh,... doh, ray,... doh, ray, me,.... Her tongue catches (...) at the beginning of each sound as if it were a new found delight, but it is the sequence, the linear progression that is the focus of her concentration. And slowly, her recitation begins to take on its own rhythmic fluidity, each sound's name becoming stronger and more confident than the one before. Then just as quickly as it began, it is over, and she stands tall in the glory of the final doh's resonance, proud in her belief that having mastered the letters of the alphabet, she has at long last discovered the key to unlocking music's deepest and darkest mysteries.The alphabet—I begin its story with the hand behind the hieroglyphic markings of our ancient ancestors, the hand that discovered in the tracings of its own aimless movements across the sand a capacity to replicate the arc of the moon, the flowering branches of a shrub. It was a hand pre-occupied with the visual, its scratchings serving to extend the communicative power of its own reach by calling forth the image of a thing not immediately present. Meaning, as such, was typically a matter of a one-to-one correspondence inferred on the basis of shape and form, with concepts such as speed and light portrayed by animals and natural objects that one would associate with each (for instance, a running cougar, a stylized sun). But as language and the art of storytelling evolved, the emergence of concepts lacking precise visual associations required the development of a variety of phonetic strategies that, often working through pictographic puns (that is, belief, bee+leaf), used the visual to invoke the sound of the human voice.1 The effect, David Abrams suggests, was that of magic, the word having seemingly been "drawn" from the silence of thin air.2 And, like all tricks, the hand disappeared behind the magic. Where initially voice and hand had worked as extensions of one another, the voice serving to bring people together,3 the hand pointing to that which was voiced, the word as name now sounded alone.The story continues with the artistry of the storyteller. It was the artistry of a rhapsodist, one who used the voice to spin a tale of a "remembered present" from [End Page 42] the remnants of the hand's scratchings that had withstood the ravages of time.4 I say "remembered present" because the voice was valued for its expressive qualities and worked in and through a battery of memorized melodic embellishments that allowed it to stitch one image to the next on the basis of the storyteller's own experience and knowledge.5 It was a voice, consequently, that worked in the moment, a voice that drew energy and inspiration not only from the hand's scratchings but also from those that had gathered to listen. The first alphabets did little to change the dynamics of the event, they being nothing more than crudely assembled compilations of idiosyncratic phonograms (that is, z = buzzing bee) designed to define the possibilities of language as a vocabulary of names.6 Etched into bark, tree, stone, and parchment, however, they came to have a longevity that allowed the sounding codes they represented to be carried "word of mouth" from place to place. Where the spoken word had once been both fleeting and fluid, gone before it was fully sounded, it now had a repeatability that served to fix both its spellings and its meanings. And it was not long before the spinning of a tale had become a matter of second sight, the work of an extraordinary memory able to "recall" that which the storyteller had not been present to hear.7The gift worked through a self-conscious awareness of oneself as... (shrink)

The Music Instinct Philip Ball provides the first comprehensive, accessible survey of what is known--and what is still unknown--about how music works its magic, and why, as much as eating and sleeping, it seems indispensable to humanity. --from publisher description.

In lieu of an abstract, here is a brief excerpt of the content:Response to Alexandra Kertz-Wezel, “The Magic of Music”Joyce Eastlund GromkoIn her paper, "The Magic of Music," Kertz-Wezel proposes that music be "a means to transform emotions and experience life more intensely." She goes on to speculate that "not only the way of listening and performing Western European art music in educational settings, but also the music itself may prevent individuals from further (...) involvement in classical music." Her goals are involvement [End Page 117] in art music and a deepening and enhancing of individuals' lives through aesthetic experience. Kertz-Wezel grants as reasonable the idea that education should start with an individual's experience 1 and should follow with a series of "intensive musical experiences." With all of this, I can agree.However, whereas we share the goal of transformative music education through aesthetic experience, we differ in the means by which we would accomplish our goal and we differ for philosophical reasons. Kertz-Wezel promotes an approach to music experience that celebrates individuality and a return to Romanticism.2 By contrast, I have developed an approach to music experience that depends on collaborative music-making and that emphasizes the social and interpersonal context, as opposed to the individual. I would like to describe how my approach, contrary to the individualistic approach espoused by Kertz-Wezel, nevertheless accomplishes the goal of transformative music education.My approach is grounded in principles abstracted from the writings of John Dewey.3 Like Dewey, I believe that the only true education comes through the stimulation of an individual's powers by the demands of the social situations in which individuals find themselves.4 Therefore, in the schools that serve as field and research sites for our university, we create communities of musical practice in which individuals gain the full and ready use of all their capacities while performing newly composed art music.5 Every year a set of new works are composed especially for our students by composers at our university. Through the process of actualizing a piece of art, our students are "stimulated to act as member(s) of a unity, to emerge from (their) narrowness of action and feeling, to conceive of (themselves) from the standpoint of the welfare of the group to which (they) belong."6 The image of a fully engaged community member stands in stark contrast to that of the young woman in Kertz-Wezel's paper who, in describing her experience at the rock concert, said, "You don't think about what you are doing. You do what you feel like, without even thinking about it." When in a trance, individuals are detached from, not connected to, their physical surroundings.7 When in a state of ecstasy, individuals are carried beyond rational thought and self-control.8 It is impossible for me to imagine how an individual in a state of semi-conscious detachment, lacking in rational thought and self-control, can be learning.9Students in communities of musical practice are fully conscious of the value that they have to the group and "the value is reflected back into them."10 They learn to listen intently to other performers within the ensemble. They learn to communicate with one another in the symbol system of music and their musical babblings are transformed into articulate language.11 They become literate when they actualize into musical art what is embedded in the abstract symbols in a score. Through the process of actualizing pieces of musical art, students [End Page 118] heighten their perceptions and strengthen their connections. They have the kind of aesthetic experience described by Dewey:The material of esthetic experience in being human—human in connection with the nature of which it is a part—is social. Esthetic experience is a manifestation, a record and celebration of the life of a civilization, a means of promoting its development, and is also the ultimate judgment upon the quality of a civilization. For while it is produced and is enjoyed by individuals, those individuals are what they are in the content of their experience because of the cultures in which they participate.12The active, social, music-making approach to music education has considerable resource implications for... (shrink)

“Would you like to think about,” Thomas Mann famously asked Theodor Adorno, while writing his masterpiece, Doctor Faustus, “what sort of music you would write if you were in league with the devil?” Subtitled The Life of the Composer Adrian Leverkühn, As Told by a Friend, the novel presents the narrative, by humanist professor, Serenus Zeitblom, of the descent into madness of the musical genius, Adrian Leverkühn. In the story, Leverkühn achieves an avant-garde breakthrough into atonal dissonance that is (...) modelled on the twelve tone row procedure of Arnold Schönberg, as represented to Mann by the work’s “musical adviser,” Adorno. Over the space of a year, Adorno’s response to Mann went far beyond the “few significant details” requested by the author, extending to 20 pages of text and notation, and embracing not just the diabolical breakthrough of Leverkühn’s Apocalipsis cum figuris, but also the redemptive retraction of The Lamentations of Doctor Faustus. It is at this point that we must pause. The combination of the authorship controversy between Mann and Schönberg over the inspiration for the works of Leverkühn, the fact that Mann’s Leverkühn is in the main a transcription of Adorno’s Schönberg, and the fact that Adorno only wrote the second half of Philosophy of Modern Music in 1948, after the collaboration with Mann had finished, has generated a major critical lapse. The general assumption is that the music that Adorno would write in league with the Devil is the music of Schönberg. But that assumption is false. The music that Adorno would write in league with the Devil is the music of Stravinsky. Leverkühn’s diabolically-inspired masterpiece, Apocalipsis, is definitely “Stravinskyian”. By contrast, the redemptive Lamentation is clearly “Schönbergian”. I intend to demonstrate this by highlighting the distinctive characteristics of “Schönberg” and “Stravinsky” in Philosophy of Modern Music, and then comparing these characteristics with those of Leverkühn’s imaginary works. (shrink)

Magic and Vegas have a lot in common. Both have a reputation for bad taste and cheap thrills, and they’ve both generally been ignored—or at best ridiculed—by the art-critical establishment. It’s fitting, then, that no city loves magic like Vegas loves magic. Today, more than one-third of its top-selling shows feature magic, and this means that no complete treatment of art and entertainment in Sin City can afford to ignore it. But what’s at risk here is (...) more than theoretical completeness. Magic provides a distinctive—and distinctively powerful—form of aesthetic experience whose appeal spans very different cultures, age groups, and historical periods. Recognizing this opens a variety of theoretical doors and raises a host of questions, among them the issue of the relationship between magic and other genres and art forms. Indeed, magic performances are often complex theatrical events that incorporate drama, humor, elements of horror, and—critically for present concern—music. While these are sometimes incidental accretions, mere presentational window-dressing for the magic trick itself, they can also be tools in the magician’s toolbox. For example, magicians widely appreciate that a joke can be good for more than a laugh: in virtue of how it shapes the audience’s attention, it can directly contribute to the success of a trick. -/- In this chapter, I argue that the same is true of music, and that magicians employ it not only to set the mood and highlight dramatic moments, but to facilitate the deception that’s necessary for the experience of magic itself. As we will see, music can frame, stimulate, and illuminate, but it can simultaneously also block and blind. No wonder, then, that it’s everywhere in Vegas, which, like magic, works only if we’re receptive to the illusions it openly manufactures. (shrink)

Introduction -- Prelude: a paradox of the ineffable. Schopenhauer's deep copy ; The Platonic solutions ; Four dialectical responses (after Nietzsche) -- Bloch's tone. The tone ; The natural klang ; The expressive tone ; Bloch's magic rattle ; The tone's inner ineffability ; The event-forms ; A dialectical account of music history ; Utopian musical speech -- Adorno's musical fracture. Adorno's tone ; Adorno's conception of history ; The tendenz des materials ; Music's language-like ineffability ; (...) The immanent critique ; The paradox of Mahler's vernacular ; The curve of inconsistency -- Interlude: Wittgenstein's silence -- Jankelevitch's inconsistency. Bergson and the inconsistency of time ; The aporetic source of fidelity ; Charm ; Cosmic silence ; Unwoven dialectics -- Deleuze and Guattari's rhythm. Deleuze's rhythm ; The rhythm of sense ; A structuralist quadrivium ; The rhythm of life ; Sonorous co-extensions -- Conclusion: a paradox of the vernacular. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Deborah Bradley, “Oh that Magic Feeling! Multicultural Human Subjectivity, Community, and Fascism’s Footprints”Marja HeimonenDeborah Bradley has written a most interesting paper that is concerned with anti-racism pedagogy and significant musical moments. Her study has a moral and an ethical dimension; the style of writing is fresh and honest, and she is deeply involved in her important theme. In addition, she is able to explore both sides (...) of the same coin: how music education may support not only anti-racism but also fascism.The approach might be characterized as socially and politically oriented philosophical research. I think that it is most important to shed light on philosophical and theoretical concepts and make them clearer through practical examples, and this is how Bradley explores her research subject. The theories and concepts she uses, such as the concept “multicultural human subjectivity,” are clarified not only by theoretical exploration but also through the personal experiences of human beings particularly interviews of choir members.A more coherent structure, and a focus on a theme, might have helped the writer to go deeper in her research subject, but in that case, the paper would have very probably lost its mission for music educators: the promotion of anti-racism as part of critical pedagogy, not only theoretically but also in practice. Moreover, the structure of the paper and its philosophical argumentation might have been clearer if the writer had focused just on the first theme in her paper: the positive effects of music education, especially a world choir music curriculum, argued to promote both self-understanding (connected with identity) and tolerance between different kinds of human beings. But, the writer also decided to explain [End Page 85] the darker side of the same phenomenon, music and music education used for questionable instrumental purposes and ideologies; for promoting fascism, for instance.I think that this turning point is indeed fascinating and it sheds light on the multiple functions of music education in our societies. Music and education in Nazi Germany is taken as an example, but it is not only the specific historical circumstances, the Third Reich, that demonstrates these problems: “freedom” and “democracy” can be interpreted in various ways, and creating “better people” may refer to different kinds of educational aims also in our multicultural world of today. What should music educators do? Should music education be separated from all kinds of social aspects related to moral and ethical education?Bradley raises questions rather than gives answers, which is as valuable as aiming at finding one right answer (that may not exist). Of course, music’s autonomy could be one basis for music education: the aim of music educators could be to teach children to analyze musical structures and to understand musical works cognitively. A Kantian view of pure art, aesthetic experience, morality and beauty, or excellence as the aim of artistic activity might also be taken as an aim in music education. Following these views, the choir director should rather train the choir members to sing purely in rhythm than to concentrate on authentic emotions, promoting their growing into morally conscious and ethically responsible human beings. Philosophically, the debate between an aesthetic approach and a more pragmatic (praxial) one might be found behind the questions addressed in this paper,1 although Bradley rather refers to the German philosopher Theodor W. Adorno’s ideas on music education.Adorno, who lived in the shadow of Hitler’s Germany and Stalin’s Russia, is a multidimensional sociologist, musician, composer, musicologist, and philosopher, whose works have been interpreted in various ways: actually, he not only defends music’s autonomy, but simultaneously argues that the ideal of music’s self-containment is just an illusory projection (of a bourgeois subject). In other words, his dialectical method aims at keeping opposing views together, and his ideas—rooted in critical social theory—have become a source for new critical musicology.2 Adorno was not a music educator or a pedagogue in instrumental or vocal music, and his view of teaching contemporary music for children could, in my view, be regarded almost as questionable as the German views he criticized as fascist: the aim to educate amateur musicians... (shrink)

Passionate and rollicking personal and intellectual essays by philosopher Crispin Sartwell. Philosopher, music critic, and syndicated columnist Crispin Sartwell has forged a distinctive and fiercely original identity over the years as a cultural commentator. In books about anarchism, art and politics, Native American and African American thought and culture, Eastern spirituality, and American transcendentalism, Sartwell has relentlessly insisted on an ethos rooted in unadorned honesty with oneself and a healthy skepticism of others. This volume of selected popular writings combines (...) music and art criticism with personal memoir about addiction and rebellion, as well as cultural commentary on race, sexuality, cynicism, and the meaning of life. “Crispin Sartwell deserves to be recognized as the heir to a distinctively American intellectual legacy. Like the American ‘cynics’ he loves—Twain, Bierce, Mencken—he is fiercely individualistic, deeply antiauthoritarian, and slavishly aligned with no creed or academic discipline. He uses his significant erudition not to escape the ordinary or himself, but rather to let loose riches—of insight, suffering, and beauty—through a relentless examination of life, culture, and reality. Sartwell is also, in my opinion, the best philosophical prose stylist of his generation. His writing—crystalline, vivid, and intoxicating—is an uncontrollable substance. And though Sartwell swaggers, provokes, and sometimes infuriates, he does so with a tacit humility and self-scrutiny, which empowers readers to follow his example and convert their own rage into beauty.” — Elizabeth Walden, Bryant University “Crispin Sartwell is the most important philosophical voice of his generation. He has risen into the public consciousness in the last two decades due to his controversial views on social, political, and cultural subjects. Through television appearances, journalism, and blogging, along with his numerous scholarly books, he has made a reputation as a thinker of serious thoughts. Yet, there is a lightness to his world that is irreverent, fun, and entertaining. These essays reflect some of his best writing from the past fifteen years. They are highly readable, but they are also profound reflections on the subjects that will draw many of us into deeper ponderings about the meaning of life, or, more to the point, the meaning of our lives.” — Randall Auxier, author of Time, Will, and Purpose: Living Ideas from the Philosophy of Josiah Royce. (shrink)

This paper examines how significant musical moments, occurring within singular contexts, may be performative to the development of community. While community is often viewed within music education as an unequivocal good, I argue that this result may not always be beneficent. In this paper, I look at one unique performative moment through the lens of anti-racism education as the potential for community conceived as multicultural human subjectivity. Drawing upon the arguments of Theodore Adorno, Paul Gilroy, and others, I then (...) examine this same moment as one in which the seeds of fascistic community may also be sewn. From this background, I examine the ongoing project of the National Association for Music Education (MENC) known as the National Anthem Project (NAP) as an identity building project, questioning where the lines blur between solidarity, nationalism, and fascistic forms of community within the potentially significant musical moments that NAP may also foster. [End Page 56]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.2 (2004) 102-125 [Access article in PDF] Towards an Ecology of Music Education June Boyce-Tillman King Alfred's College, England Western culture has developed a concept of knowledge as divided into discrete categories, which are reflected in the disconnected subjects of our school curricula and the titles of our university faculties. However, music should be intimately bound up with the wider curriculum, (...) particularly in the areas of personal, social, cultural, moral, and spiritual education. From an examination of the values that are implicit in the musical traditions that dominate music education in Western culture, in this paper I will set out some pointers towards a more ecological understanding of music education, drawing on experiences I have had with music and music education in a variety of settings. I will examine how musicology has concentrated only on certain aspects of the musical experience, ignoring areas such as expressive character, value systems, and spirituality, which are the areas that link the musical experience to the fabric of life as lived beyond the confines of the classroom and academe. This paper seeks to re-establish a notion of connectedness both within the musical experience and also beyond it and through it to other areas of knowledge and understanding. For this I have adopted the term "ecology." To explicate this notion of ecology, I have developed a model which incorporates the values that are both usually associated with Western culture and are subjugated by it, drawing on the experience of music itself. [End Page 102] Ways of Knowing The first of these models deals with the social construction of knowledge. Stan Gooch defines two systems of thought embodied in various cultures in the world. He identifies the favored characteristics of one system (Type A) as activity leading to products; objectivity; impersonal logic; thinking and thought; detachment; and discrete categories of knowledge that are based on proof and scientific evidence. The other system (Type B) favors being; subjectivity; personal feeling; emotion; magic; involvement; associative ways of knowing; and belief and non-causal knowledge.1Gooch suggests that the Western world has chosen to value the first of these systems and neglect the other. This is done by a process of devaluation that can be carried out in various ways. In the Western media this devaluation can be manifested as public ridicule or by simply ignoring those events that reflect Type B values. Community-building activities based on associative ways of knowing and acknowledgement of people's feelings and sensibilities are not reported, while a considerable amount of space is given to the essentially dehumanizing practices of warfare and the dissociative practices of violence and crime. For example, reports and articles on holistic, associative approaches to health based on belief systems that defy rational explanation often end with throw-away comments like "If you believe that, then you will believe anything!" Public figures sometimes indulge in similar practices in their pronouncements by initiating policies to outlaw health practices that cannot be supported by scientific methodologies and appealing to the grounds of public safety. People who wish to embrace the values of Type B can easily be pathologized or criminalized as the dominant culture seeks to reinforce the validity of its Type A values. Academic, medical, psychological, and even sociological research concentrates on so-called objective methodologies associated with scientific ways of knowing and the use of numbers in some shape or form. Qualitative methodologies that collect people's stories are often regarded with suspicion because of the alleged subjectivity of the approach.So the values of Type B have become hidden or repressed by Western culture. I have therefore called the ways of knowing that characterize Type B "subjugated ways of knowing,"2 following the work of Michel Foucault and his notion of subjugated knowledges.3 This paper will concentrate on how the ideas of the subjugated ways of knowing can be used to understand where we are in music education, drawing on my experience in the UK. I shall look at ways of bringing the two ways of knowing-Type A and... (shrink)

The twentieth century began with the deconstruction of the image, as it is ending with the effort to restore it. Cubism, dada, and abstract expressionism took apart what, in their various ways, pop art, magic realism, and neoexpressionism have tried to put back together. Tonality in music and narrative in literature have undergone similar change.1 What has been at stake in each case has been the redefinition of a center, a normative or ordering principle as such. Yeats intuited (...) this general phenomenon in his famous observation that “the center cannot hold,” and though whether one applauds or, with Yeats, condemns the result, it is undeniable that the crisis of contemporary culture has been in large part experienced as a deprivation of norms.This sense of deprivation has been most apparent in the plastic arts. The fashioning of images has been one of the primary impulses of human art. It has been the basis of most systems of visual representation and constitutes the earliest record we have off art itself. Its loss or abandonment has been in good part responsible for the bewilderment and hostility much of the general public continues to express toward modern art.The experience of this loss, however, has not been confined to the public alone. For many artists, the sense of modern art’s expressive potential has been tempered by an anxiety about its ultimate direction.2 For these artists, the image had not been transcended but rather rendered inaccessible, and implicitly or explicitly they sought its restoration. At the same time, they were keenly aware that there could be no return to exhausted modes of representation, no looking back except as parody or quotation.3 1. Among the studies comparing changes across the arts in the early twentieth century are Georges Edouard Lemaître, From Cubism to Surrealism in French Literature , and Bram Dijkstra, The Hieroglyphics of a New Speech: Cubism, Stieglitz, and the Early Poetry of William Carlos Williams . More recently, visualization in cubist art and relativity theory has been compared in Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art . For a general overview, see Stephen Kern, The Culture of Time and Space, 1880-1918 . Marxist critics, notably Walter Benjamin, have long insisted on the relationship between modernism in the arts and the crisis of the traditional order.2. This is clearly visible in the work and writing of pioneers such as Kandinsky and Klee or, to take a later case, Adolph Gottlieb. The correspondence between Kandinsky and Schönberg is illuminating as well.3. Much of the neoimagistic art of the past twenty-five years falls into these categories, and thus signals a prolongation rather than a resolution of the crisis. Pop art was clearly an art of parody, while work of an artist such as Malcolm Morley might almost be taken as an illustration of Benjamin’s thesis about the work of art in an age of mechanical reproduction. His “imitations,” like those of Robert Lowell in verse, betray a deep anxiety about mastery and tradition. Much the same can be said for such musical compositions as Lukas Foss’ “Baroque Variations” and “Phorion” or Luciano Berio’s “Sinfonia,” to name but a random few among many. Robert Zaller is professor of history and head of the department of history and politics at Drexel University. He was formerly on the faculties of Queens College , the University of California at Santa Barbara, and the University of Miami. His books include The Parliament of 1621: A Study in Constitutional Conflict and The Cliffs of Solitude: A Reading of Robinson Jeffers. (shrink)

Music, language, and drama come together in opera to make a whole that conveys emotional reality. In this book, Irving Singer develops a new mode for understanding and experiencing the operas of Mozart and Beethoven, approaching them not as a musical technician but as a philosopher concerned with their expressive and mythic elements. Using the distinction between the sensuous and the passionate as framework for his discussion, Singer explores not only the treatment of love in these operas but also (...) the emotional and intellectual orientation of these two great composers. Singer contrasts the cool sensuality of the Don in Mozart's Don Giovanni with Leonora's passionate love for her husband in Beethoven's Fidelio and compares the erotic playfulness of some of Mozart's letters with Beethoven's fervent letter to "the immortal beloved." Don Giovanni, The Marriage of Figaro, Così Fan Tutte, and The Magic Flute all express the conflict between the sensuous and the passionate, but it is only in The Magic Flute, says Singer, that this conflict is resolved. Beethoven, an admirer of The Magic Flute, emulated both its music and its ideology, and produced in Fidelio the greatest of all operas about married love. Written while Singer was also at work on the three-volume The Nature of Love, Mozart and Beethoven can be read as a companion volume to this masterful trilogy and as a forerunner to his later work on philosophy in film. (shrink)

According to the Hindu tradition, the origin of the various philosophical ideas that were developed in the philosophical systems lies in the Vedas, a body of texts that seem to have been composed around two thousand years Before the Common Era (BCE). While the Vedas contain a myriad of different themes, ranging from hymns for deities and rules of fire sacrifices to music and magic, there is no doubt that one finds in them an exemplary spirit of inquiry (...) into “the one being” (ekam sat) that underlies the diversity of empirical phenomena, and into the origin of all things. (“Was there being or non‐being at the beginning?”) One finds also predelineations of such concepts of ṛta (truth or moral order), karma and the afterlife, and the three qualities (or guṇas: sattva, rajas, and tamas) constituting nature (prakṛti). It is in the Upaniṣads (a group of texts composed after the Vedas and ranging from 1000 bce to the time of Gautama, the Buddha), that the thinking, while still retaining its poetic flavor, develops a more strictly philosophical character. While still concerned with many different themes belonging to cosmology (“How did the one being become many?”) and psychology (“What does the empirical person consist of?”), the Upaniṣads contain attempts to reinterpret, in symbolic terms, the elaborate Vedic sacrifices, and to defend, in many different ways, one central philosophical thesis – that is, the identity of Brahman (the highest and the greatest, the source of all things) and ātman (the self within each person). With this last identification, a giant step was taken by the authors of the Upaniṣads, a step that was decisive for the development of Indian philosophy. The Vedas had already decided, famously in the Nāsadiya Sukata, that at the beginning of things there must have been being and not non‐being (for something cannot come out of nothing); now this primeval being was said to be the same as the spirit within. The highest wisdom was intuitively realizing this identity of subject and object (tat tvarn asi). How to know it was the issue. Suggestions ranged from contemplative meditation to austere self‐mortification. The idea of yoga and a picture of the yogin make their appearance – possibly having a different origin – and blend with the central thesis of the Upaniṣads. If the reality underlying outer appearance is the universal spirit within, is then the world merely phenomenal appearance (like the magician's creation, māyā), or is the brahman‐ātman to be construed as the indwelling spirit of all things? These become the leading disputational questions amongst the commentators on the Upaniṣads, and amongst the various schools of the Vedānta philosophy. (shrink)

While this article sets out to advance our knowledge about the characteristics of Nigerian cybercriminals (Yahoo-Boys), it is also the first study to explore the narratives of the Economic and Financial Crimes Commission (EFCC) officers concerning them. It appraises symbolic interactionist insights to consider the ways in which contextual factors and worldview may help to illuminate officers’ narratives of cybercriminals and the interpretations and implications of such accounts. Semi-structured interviews of forty frontline EFCC officers formed the empirical basis of this (...) study and were subjected to a directed approach of qualitative content analysis. While prior studies, for example, indicated that only a group of cybercriminals deploy spiritual and magical powers to defraud victims (i.e. modus operandi), our data analysis extended this classification into more refined levels involving multiple features. In particular, analysis bifurcates cybercriminals and their operations based on three factors: [a] educational-attainment, [b] modus-operandi, and [c] networks-collaborators. Results also suggest that these cybercriminals and their operations are embedded in “masculinity-and-material-wealth”. These contributions thus have implications for a range of generally accepted viewpoints about these cybercriminals previously taken-for-granted. Since these criminals have victims all over the world, insights from our study may help various local and international agencies [a] to understand the actions/features of these two groups of cybercriminals better and develop more effective response strategies. [b] to appreciate the vulnerabilities of their victims better and develop more adequate support schemes. We also consider the limitations of social control agents’ narratives on criminals. (shrink)

“Postmodern” is an elusive concept that embraces a wide range of critical theories and attitudes. To borrow the assessment that the American poet Walt Whitman offered of himself, the concept is large and contains multitudes, various aspects of which often seem to be at odds with one another. Postmodern art likewise contains multitudes; indeed, it would seem that one of postmodern art's chief characteristics is the comfortable integration of apparently contradictory stimuli that, importantly, are sited less in the “work” itself (...) than in the eye/ear/mind of the beholder. Grounded on the idea that postmodern music is defined not by composers but by listeners, this essay challenges musicological writing that since the early 1990s has sought both to illuminate an ideology of postmodernism and to identify elements of a postmodernist style. In particular, it counters the much-repeated statement that the first, and perhaps quintessential, example of musical postmodernism is the eclectic yet thoroughly linear and discursive 1972 Third String Quartet of the late American composer George Rochberg; the essay suggests that, if a prototype of the postmodern in music must be named, a better candidate would be Rochberg's palimpsest-like 1965 Music for the Magic Theater. (shrink)

Music, art, and poetry were profound forces in Hermann Cohen’s thought. If we attempt to comprehend this philosopher, whose name is synonymous with the School of Marburg, that small charming town in Hesse from which Kant’s works and influence spread abroad like the magic of an irresistible melody, then we are forced to appreciate those lovers of music and art that brought him the friendship of the violinist Joseph Joachim, the admiration of painters such as Max Liebermann, (...) Lenid Pasternak, the father of Boris, and others whose names are now distant from us. European culture is alive in philosophy, not merely as illustrative references, but as the achievements of the mind devoted to reason and the power of imagination. This culture was not simply created by a mind that ignored the senses. The body was appreciated as the source of subtle and artistic movement, its power to build and form depended upon the grace and delicacy of the hands, sound awakened in us the inexhaustible dimension and possibilities of communication and relationship, sight the sensitivity to colors, to a variety of architectural forms that evoke a sense of beauty and sublimity by their effect and receptivity, taste and touch cultivate form and allow us to receive and be receptive with a heightened sense of delicacy and appreciation allowing form to be given to us in indescribable and unexpected ways. Through the senses we develop that intimacy with others that the mind can only define and analyze but never feel. Cohen has come forth from his detractors and even from his admirers as the distant and unapproachable “professor” of a forgotten philosophical “system.” He did his service in Kant’s army of interpreters adding volumes of interpretation and appreciation to the old master. Here he paid his dues to his profession and university. Cohen was a cultured man, a deeply sensitive individual, a fine product of artistic sensitivity and generosity. When he turned to the arts, when he moved to music, to religion, to social activity, the humaneness of his personality overcame the professor in him; it showed that tenderness for human relationship, that deep respect for love that Cohen found in his beloved Wolfgang Amadeus Mozart, whose operas he believed reflected a sensitivity to moral and aesthetic values. (shrink)

Music, art, and poetry were profound forces in Hermann Cohen’s thought. If we attempt to comprehend this philosopher, whose name is synonymous with the School of Marburg, that small charming town in Hesse from which Kant’s works and influence spread abroad like the magic of an irresistible melody, then we are forced to appreciate those lovers of music and art that brought him the friendship of the violinist Joseph Joachim, the admiration of painters such as Max Liebermann, (...) Lenid Pasternak, the father of Boris, and others whose names are now distant from us. European culture is alive in philosophy, not merely as illustrative references, but as the achievements of the mind devoted to reason and the power of imagination. This culture was not simply created by a mind that ignored the senses. The body was appreciated as the source of subtle and artistic movement, its power to build and form depended upon the grace and delicacy of the hands, sound awakened in us the inexhaustible dimension and possibilities of communication and relationship, sight the sensitivity to colors, to a variety of architectural forms that evoke a sense of beauty and sublimity by their effect and receptivity, taste and touch cultivate form and allow us to receive and be receptive with a heightened sense of delicacy and appreciation allowing form to be given to us in indescribable and unexpected ways. Through the senses we develop that intimacy with others that the mind can only define and analyze but never feel. Cohen has come forth from his detractors and even from his admirers as the distant and unapproachable “professor” of a forgotten philosophical “system.” He did his service in Kant’s army of interpreters adding volumes of interpretation and appreciation to the old master. Here he paid his dues to his profession and university. Cohen was a cultured man, a deeply sensitive individual, a fine product of artistic sensitivity and generosity. When he turned to the arts, when he moved to music, to religion, to social activity, the humaneness of his personality overcame the professor in him; it showed that tenderness for human relationship, that deep respect for love that Cohen found in his beloved Wolfgang Amadeus Mozart, whose operas he believed reflected a sensitivity to moral and aesthetic values. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing (...) is to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

Many areas of contemporary art and culture in the United States and Europe can be shown to have a direct lineage to the rich history of the Western Mystery Traditions, rooted in ancient esoteric and magical philosophies of Greece and Egypt. Video mash-ups and audio sampling have inherited the cut-up methods of Beat poets and artists, who in turn were influenced by the Surrealists and their contemporaries. Early twentieth-century artists such as Austin O. Spare drew upon magickal practices derived directly (...) from renaissance practitioners such as John Dee’s use of The Key of Solomon and Giordano Bruno’s Art of Memory. Methods of employing graphical imagery for the purpose of accessing insight or influence from alternate realms continue to draw upon Gnostic and Hermetic philosophies of ancient Greece and Egyptian antiquity. We can easily see the persistent influence of these ancient beliefs and practices in the contemporary use of logos and symbols of popular culture as well as in contemporary art and music. (shrink)

Adelard of Bath was one of the most colourful personalities of the Middle Ages. He travelled to the Crusader kingdoms, to Sicily and south Italy, and translated texts on astronomy, astrology and magic from Arabic into Latin. He acquired a lasting reputation as a pioneering mathematician, and he was a gifted teacher. He addressed one of these works, on cosmology and the astrolabe, to the future King Henry II, and it is in the context of the education of the (...) nobility that the three works edited in this book are to be viewed. Adelard meant them to be both entertaining and instructive. They deal with all kinds of topics, from the nature of the soul to the cause of earthquakes, from the effects of music to how to train a hawk. A preface provides the results of research on Adelard's life and work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 23-34 [Access article in PDF] Mind Ahead of the Tone:Integration of Technique and Imagination in Vocal Training at Tanglewood Summer Institute Svetlana Nikitina The use of the body and the mind at the same time is one of the most fascinating things and magic things about music. 1The purpose, indeed the sole purpose, of training for the profession of singing (...) is to improve the connection between the imagination and the sounds that eventually issue from the singer's mouth. 2The utmost goal of art is achieving unity between form and content, the subjective idea and the medium, technique and imagination. Success and livelihood of dancers, actors, and musicians depends on their ability to translate mental ideas into bodily actions and, at its height, merge technical bodily and mental wisdom so seamlessly that we would forget the path that led to it.What is this path? How do individual singers mesh, melt, and marry the technical rigor coming from years of musical training and their ability to imagine and express themselves with those tools? How is the unity betweentechnique and imagination achieved and experienced? And, what is the pedagogy that could support the connection? These are the core questions that guided the study.The goal here is not to propose a conclusive theory of connection, biological or psychological. My hope is to open the curtain for discussion of what is generally considered an "undiscussable" topic in art and music education books because it deals with what is thought of as implicit knowledge that no one could or should teach. Through my observation of Phyllis Curtin's classroom and conversations with her students, some general thoughts and principles of building unity between the technical and artistic selves of a singer emerged. I would like to share those insights and strategies.While this essay does not offer simplistic how-to strategies of fostering creative synergy, it also does not suggest that the connection just happens, [End Page 23] regardless of whether we think or teach about it. What it aspires to do is create a space for thinking about the complexity of integrative experienceand ways in which bridge-building could be facilitated. As such, it could offer insights to both beginning vocalists and voice teachers, as well as be of interest to a broader range of educators and public concerned with core issues on the integrative nature of arts education. Method To serve the goal of presenting complex experiences of creative artists, Ichose to combine analytical and descriptive elements in my research method. Building an analytical argument about the ways integration between imagination and technique could be achieved and supported, I tried to stay close to student stories of connection and disconnection, employing a qualitative rather than a quantitative method of inquiry. This takes the form of large amounts of direct interview data and personal vignettes, from which I traced general patterns of meaning. Research Context A very brief and in no way exhaustive survey of literature on voice education points to a large volume of text spent on training vocal technique. Breath control, charts depicting the larynx and the thyro-arytenoid muscle at work far outnumber chapters on interpretation or "The Work of Imagination" in musical education literature. 3There are precious few books, however, that do not keep the technical and the mental concerns separate, and give the work of imagination an explicit and central role in training of performing artists. Two of those books, Thomas Hemsley's Singing and Imagination and Michael Chekhov's On the Technique of Acting, have not fallen in my lap by chance. 4 Curtin referred to them several times in her classes as books of "singular" resonance to her own singing and teaching.Chekhov's book conceptualizes the basic processes that are involved in the actor's work on character development. These processes include extensive work on the text and its interpretation (understanding, living the text, and essentializing it in performance), in parallel with developing the body... (shrink)

Adorno unquestionably loved opera music as much as he hated opera as a cultural institution. His take on opera in the twentieth century led him to write its socio‐political obituary, while recognizing at the same time that opera continued to attract a steady stream of would‐be onlooker‐auditors. Paradoxically for Adorno, opera continued to appeal to audiences, and – from his dialectical reckoning – characteristically for precisely the wrong reasons. His opera analyses address the sociology of musical theater, performance hermeneutics, (...) and the direct consideration of music itself (though given his typical writing mode this writing is perhaps best characterized as criticism rather than analysis, as the latter term is commonly employed within musicology). Adorno's interests principally revolve around modern opera (Schoenberg, Berg, Strauss, Weill, especially) but also, if to a lesser extent, canonic works from Mozart to Verdi. Wagner, Wagnerian music drama, and cultural Wagnerism more generally were special cases for Adorno, and subjects he returned to repeatedly throughout his adult life, coinciding with the rise and fall of National Socialism and the Wagner cult, which in the 1930s and 1940s war years comfortably accommodated fascist proclivities. Adorno recognized the socio‐cultural agency of opera as a still‐prestigious cultural leftover of nineteenth‐century bourgeois triumphalism, which he vigorously opposed. In its place, he labored to promote what he regarded as a more socially responsible musico‐operatic practice to supplant the aesthetic and social complacency of the established order, ideas that after his death have found considerable currency, nowhere more evident than in late‐modern opera productions throughout the world. (shrink)

This is a comprehensive, authoritative and innovative account of Pythagoras and Pythagoreanism, one of the most enigmatic and influential philosophies in the West. In twenty-one chapters covering a timespan from the sixth century BC to the seventeenth century AD, leading scholars construct a number of different images of Pythagoras and his community, assessing current scholarship and offering new answers to central problems. Chapters are devoted to the early Pythagoreans, and the full breadth of Pythagorean thought is explored including politics, religion, (...) music theory, science, mathematics and magic. Separate chapters consider Pythagoreanism in Plato, Aristotle, the Peripatetics and the later Academic tradition, while others describe Pythagoreanism in the historical tradition, in Rome and in the pseudo-Pythagorean writings. The three great lives of Pythagoras by Diogenes Laertius, Porphyry and Iamblichus are also discussed in detail, as is the significance of Pythagoras for the Middle Ages and Renaissance. (shrink)

The quest -- Data -- Magic -- The sea as beloved -- Childhood -- Infinity -- Beaches -- The history of sea love -- The sea as koan -- Orenda -- The joy of ignorance -- Water -- Seeing the sea with the third eye -- The sea as miracle -- Music -- Water in love -- Aliveness -- The dark side -- The sea as toy -- The sea as healer -- Time and power.

What do exotic area rugs, handcrafted steel-string guitars, and fiddling have in common today? Many contemporary tradition bearers embrace complexity in form and content. They construct objects and performances that draw on the past and evoke nostalgia effectively but also reward close attention. In Rugs, Guitars, and Fiddling: Intensification and the Rich Modern Lives of Traditional Arts, author Chris Goertzen argues that this entails three types of change that can be grouped under an umbrella term: intensification. First, traditional creativity can (...) be intensified through virtuosity, through doing hard things extra fluently. Second, performances can be intensified through addition, by packing increased amounts of traditional materials into the conventionally sized packages. Third, in intensification through selection, artistic impact can grow even if amount of information recedes by emphasizing compelling ideas-e.g., crafting a red and black viper poised to strike rather than a pretty duck decoy featuring more colors and contours. Rugs handwoven in southern Mexico, luthier-made guitars, and southern US fiddle styles experience parallel changes, all absorbing just enough of the complex flavors, dynamics, and rhythms of modern life to translate inherited folklore into traditions that can be widely celebrated today. New mosaics of details and skeins of nuances don't transform craft into esoteric fine art, but rather enlist the twists and turns and endless variety of the contemporary world therapeutically, helping transform our daily chaos into parades of negotiable jigsaw puzzles. Intensification helps make crafts and traditional performances more accessible and understandable and thus more effective, bringing past and present closer together, helping folk arts continue to perform their magic today. (shrink)

Even as the philosopher can show us how to treat an object conceptually as a work of art, by regarding it in some context, so Cavell constantly implies that there are parables to be drawn about the way we treat the objects of our consciousness and the subjects of parts of it. But this special sort of treatment—like projective imagination itself—is not fancy or wit but more like a kind of epistemological fabling that is close to what Shelley called, in (...) A Defense of Poetry, "moral imagination." What is so powerful—and yet elusive of the nets of ordinary intellectual expectation—in The Claim of Reason is the way in which the activities of philosophizing become synecdochic, metonymic, and generally parabolic for the activities of the rest of life itself. It is the way in which the large , unphilosophical, "poetic," or "religious" questions are elicited from their precise and technical microcosms that makes so much of this book poetical, but not "literary," philosophy. When he writes of how tragedy "is the story and study of a failure of acknowledgment, of what goes before it and after it—i.e., that the form of tragedy is the public form of skepticism with respect to other minds"; or when, after brilliantly adducing The Winter's Tale in his consideration of Othello, he confronts the magic of Hermione's statue coming to life, he observes that "Leontes recognizes the fate of stone to be the consequence of his particular skepticism," the reader can perceive the kind of vast fiction in which minds, bodies, the privacy of insides, dolls, statues, and other representations figure as agents and elements. It will take longer to understand, I think, the imaginative significance of the earlier portions of the book. The philosophers who find its terrain familiar tend to have little patience with poetry; the reader whose sensibility is "literary" may be unable to distinguish between the arguments and examples, and the meta-arguments and examples, of the discussions of Wittgensteinian and Austinian method. Both kinds of readers should keep at it. John Hollander, a distinguished poet and critic, is professor of English at Yale. The author of The Untuning of the Sky: Ideas of Music in English Poetry, 1500-1700, Vision and Resonance: Two Senses of Poetic Form, and The Figure of Echo, his books of poetry include Spectral Emanations and Blue Wine and Other Poems. (shrink)

Philosophy, Music and Emotion explores two issues which have been intensively debated in contemporary philosophy: the nature of music's power to express emotion, and the nature of emotion itself. It shows how closely the two topics are related and provides a radically new account of what it means to say that music 'expresses emotion'. Geoffrey Madell maintains that most current accounts of musical expressiveness are fundamentally misguided. He attributes this fact to the influence of a famous argument (...) of the nineteenth-century critic Hanslick, and also to the dominant 'cognitivist' approach to the nature of emotion, which sees the essence of emotion to be the entertaining of evaluative judgements and beliefs of a certain sort, an account very much in accord with Hanslick's position. Such an approach results either in the unpersuasive view that musical expressiveness is somehow akin to human expressive gesture, or in the view that music arouses feelings which have no specific object and, unavoidably, no necessary connection with the music.The book argues that the 'cognitivist' account of the nature of emotion is quite false and that it needs to be replaced with a conception of emotions as states of feeling towards - states of intentional feeling - whose objects are often evaluatively characterised states of affairs; however, in the context of the emotions that are aroused by music these objects are always musical events or states. Central to this bold analysis of emotion is a new account of two closely connected mental states, those of desire and of pleasure, and of what role these states have in human motivation and value. (shrink)

Among the most exciting experiences in our lives are the ones that arouse a magical rapture within us. This may happen when we become engrossed in a musical piece, when dancing becomes ecstatic, when we are passionately in love (or making love) or when we experience an intuitive perception or an altered state of consciousness, get caught by the spell of the infinity of the Universe or the splendor of nature; it can also happen during telepathic contact or in lucid (...) dreams. What I shall try to outline here is a systematic world-view that gives a basis for the interpretation of the special character of those magical actions. A model for the structure of the Universe is shown in which different levels of existence are sequentially telescoped into each other. This model suggests that the different levels of the material and the inner worlds can be in direct connection, thus offering us a new perspective for participating in the process of Creation. (shrink)

Preface: What this strange book is about -- Conversation 1: where's the formula? -- Conversation 2: brain and mind -- Conversation 3: logic and intuition -- Conversation 4: how to open the 'third eye' -- Conversation 5: matter and spirit -- Conversation 6: the data -- Conversation 7: synchronicity -- Conversation 8: waves -- Conversation 9: holism -- Conversation 10: the music of the spheres -- Conversation 11: cultural consequences -- Conversation 12: water magic.

Since its birth in 1600 opera has been interpreted as an attempt to revive Greek tragedies in its marvelous music. Its provocative presentation of action and narration entirely in music has been seen as a manifestation of the enchanted universe of sixteenth-century hermeticism. Viewed as a final homage to the magical incantations of the premodern era, late Renaissance operas have been interpreted as the culmination rather than the dissolution of Renaissance culture. This paper proposes that the relationship between (...) the natural and the supernatural in early opera represents a rational mediation between the real and the unreal rather than an enchanted bond between these realms. The paper situates the birth of opera in the context of the epistemological shift of the new science and suggests that opera played a key role in the transition from the old to the modern notions of meaning and truth. (shrink)