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)

The Postlude, written for this edition, looks back at the predictions made more than twenty-five years ago and speculates about what the coming decades may hold ...

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.

It is often taken for granted that music, whatever else it is able to do, cannot articulate ideas. This paper aims to refute that formalist claim and present an anti-formalist one showing why thinking formalism true is based on a fallacy and involves a misunderstanding of ordinary language. By ‘idea’ is meant a view, and reflection on that view, which in the limiting case may be a worldview, a Weltanschauung. That in this sense ideas are articulated in music is (...) to say that they are, among other things, presented, conveyed and considered. This goes well beyond the usual anti-formalist claim that music may express emotions. The paper goes on to show how ideas may be articulated in music. This follows from properly understanding how it is that any idea may be articulated. Without music being able to include articulating ideas, the high artistic and cultural value we place upon music, as well as the way people actually talk about music, while being compatible with music having other features that we value, is inexplicable. In this sense the question is raised as to how it is possible to articulate ideas in music. (shrink)

This paper is a historical analysis of the contributions of music artistes to the idea of development in Africa in the period between 1974 and 1987. Itseeks to show that concern for the development of the continent was not confined to the intellectual community. Music artistes were not merely interested in entertainment; they also paid attention to the real problems that confronted the society of their time, thereby sharing in the concern of political thinkers of all ages. The works (...) of three artistes - Sonny Okosun, Fela Anikulapo-Kuti and Bob Marley - are selected for detailed examination, although references are made to other artistes. The study depended on primary and secondary source material. The paper is a contribution to knowledge in the field of African Political Thought. (shrink)

Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both questions are more plausible (...) than it might seem at first. (shrink)

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

A fascinating and hugely original book that explains how a vexing technical puzzle was solved, making possible some of the most exquisite music ever written. From the days of the ancient Greeks, the creation of music was thought to be governed by divine and immutable mathematical certainties. But over time skeptics came to understand that those rules limited harmonic possibilities. In Temperament , we see the traditionalists and the innovators battling across the centuries, engaging great thinkers like Newton, Kepler, and (...) Descartes as well as musicians, craftsmen, church leaders, and heads of state. At the heart of their dispute is the question of how the tones of a musical scale should be selected. The breakthrough came in the eighteenth century, when the modern keyboard was given perfect musical symmetry through a tuning of equal temperament, each pitch reliably equidistant from the ones that precede and follow it. This tuning allows a musical pattern begun on one note to be duplicated when starting on any other; it creates a musical universe in which the relationships between tones are reliably, uniformly consistent--a universe of greatly expanded possibility, one that allowed Liszt, Chopin, Brahms, Debussy, and all those who followed to compose the piano music we listen to today. Stuart Isacoff relates the story of the reinvention of the piano--a story that encompasses social history, religion, philosophy, and science as well as musicology--in a concise and sparkling narrative. Temperament is a jewel of a book. (shrink)

This paper explores the idea that wellbeing and healthy development should be the central goal of school music programs. After establishing a framework of student wellbeing, the metaphor of rites of passage experiences is employed—through Joseph Campbell's hero's journey and Jane McGonigal's analysis of the benefits of online gaming—as one way to think about high school music programs as potential sites for contributing to optimal adolescent wellbeing. Writing at the nexus of practice and theory the authors analyze two rites (...) of passage examples from their high school music classrooms. Musicking experiences that offer students openings for embarking upon rites of passage hold potential for addressing students' needs for autonomy, relatedness, and competence—needs Richard Ryan and Edward Deci document as predictive of psychological wellbeing in all cultures and that Dissanayake argues are evolved psychobiological needs. (shrink)

Abstract:Classical music has often been a chosen enemy in discourses about music in general and music education in particular. It has been blamed for being an elitist culture and perpetuating inequality in societies. This and many more rather one-sided arguments dominate the discourse about classical music. But are they really true? Should classical music therefore be eliminated from the music education curriculum? This paper analyzes selected aspects of the ongoing criticism of classical music in music education from a philosophical and (...) sociological perspective. It identifies, questions, and addresses significant arguments. The main thesis of this paper is that it might be time to deconstruct the discourses surrounding classical music, as particularly dominated by Anglo-American education, toward understanding classical music in music education from a global point of view, recognizing it as one musical culture among many others. (shrink)

Truth happens to an idea." So wrote William James in 1907; and twenty-four years later John Dewey argued that artistic experience entailed a process of "doing and undergoing." But what do these ideas have to do with music, or with research conducted in and through music - that is, with "artistic research?" In this collection of essays, fourteen very different authors respond with distinct and challenging perspectives. Some report on their own experiments and experiences; some offer probing analyses of (...) noteworthy practices; some view historical continuities through the lens of pragmatism and artistic experiment. The resulting collection yields new insights into what musicians do, how they experiment, and what they experience - insights that arise not from doctrine, but from diverse voices seeking common ground in and through experimental discourse: artistic research in and of itself. (shrink)

Music as a narrative drama is an intriguing idea, which has captured explicit music theoretical attention since the nineteenth century. Investigations into narrative characters or personae has evolved into a sub-field--musical agency. In this book, Palfy contends that music has the potential to engage us in social processes and that those processes can be experienced as a social interaction with a musical agent. She explores the overlap between the psychological processes in which we participate in order to (...) understand and engage with people, and those we engage in when we listen to music. Thinking of musical agency as a form of social process is quite different from existing theoretical frameworks for agency. It implies that we come to musical analysis by way of intuition--that our ideas are already partially formed based on our experience of the piece (and what it makes us feel or how it makes us sense it as any other) when we choose to analyze and interpret it. Palfy's focus on social processes is a very effective way to pinpoint when and why it is that our attention is captured and engaged by musical agents. (shrink)

We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that (...) music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained solely as the composer's self-expression, or in terms of its power to evoke a response from the audience. Music's ability to describe emotions, he believes, is located within the music itself; it presents the aural appearance of what he calls emotion characteristics. The expressive power of music awakens emotions in the listener, and music is valued for this power although the responses are sometimes ones of sadness. Davies shows that appreciation and understanding may require more than recognition of and reaction to music's expressive character, but need not depend on formal musicological training. (shrink)

A new theory of aesthetics and music, grounded in the collision between language and the body. In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information—biological and cultural—collide. It is only when we acknowledge the clash of body (...) and language within human identity that we can understand how art brings forth the special form of subjectivity potentially present in aesthetic experiences. As a young musician, Hodgkinson realized that music was, in some mysterious way, “of itself”—not isolated from life, but not entirely continuous with it, either. Drawing on his experiences as a musician, composer, and anthropologist, Hodgkinson shows how when we listen to music a new subjectivity comes to life in ourselves. The normal mode of agency is suspended, and the subjectivity inscribed in the music comes toward us as a formative “other” to engage with. But this is not our reproduction of the composer's own subjectivation; when we perform our listening of the music, we are sharing the formative risks taken by its maker. To examine this in practice, Hodgkinson looks at the work of three composers who have each claimed to stimulate a new way of listening: Pierre Schaeffer, John Cage, and Helmut Lachenmann. (shrink)

Kramer was one of the most visionary musical thinkers of the second half of the 20th century. In his The Time of Music, he approached the idea of the many different ways that time itself is articulated musically. This book has become influential among composers, theorists, and aestheticians. Now, in his almost completed text written before his untimely death in 2004, he examines the concept of postmodernism in music. Kramer created a series of markers by which we can (...) identify postmodern works. He suggests that the postmodern project actually creates a radically different relationship between the composer and listener. Written with wit, precision, and at times playfully subverting traditional tropes to make a very serious point about this difference, Postmodern Music, Postmodern Listening leads us to a strongly grounded intellectual basis for stylistic description and an intuitive sensibility of what postmodernism in music entails. Postmodern Music, Postmodern Listening is an examination of how musical postmodernism is not just a style or movement, but a fundamental shift in the relationship between composer and listener. The result is a multifaceted and provocative look at a critical turning point in music history, one whose implications we are only just beginning to understand. (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)