Author: Stephen Davies
Publisher: Cornell University Press
ISBN: 9780801481512
Category : Music
Languages : en
Pages : 436
Book Description
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.
Musical Meaning and Expression
Author: Stephen Davies
Publisher: Cornell University Press
ISBN: 9780801481512
Category : Music
Languages : en
Pages : 436
Book Description
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.
Publisher: Cornell University Press
ISBN: 9780801481512
Category : Music
Languages : en
Pages : 436
Book Description
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.
Musical Meaning in Beethoven
Author: Robert S. Hatten
Publisher: Indiana University Press
ISBN: 9780253217110
Category : Music
Languages : en
Pages : 374
Book Description
Award-winning examination of Beethoven's music.
Publisher: Indiana University Press
ISBN: 9780253217110
Category : Music
Languages : en
Pages : 374
Book Description
Award-winning examination of Beethoven's music.
Focal Impulse Theory
Author: John Paul Ito
Publisher: Indiana University Press
ISBN: 0253049946
Category : Music
Languages : en
Pages : 398
Book Description
Music is surrounded by movement, from the arching back of the guitarist to the violinist swaying with each bow stroke. To John Paul Ito, these actions are not just a visual display; rather, they reveal what it really means for musicians to move with the beat, organizing the flow of notes from beat to beat and shaping the sound produced. By developing "focal impulse theory," Ito shows how a performer's choices of how to move with the meter can transform the music's expressive contours. Change the dance of the performer's body, and you change the dance of the notes. As Focal Impulse Theory deftly illustrates, bodily movements carry musical meaning and, in a very real sense, are meaning.
Publisher: Indiana University Press
ISBN: 0253049946
Category : Music
Languages : en
Pages : 398
Book Description
Music is surrounded by movement, from the arching back of the guitarist to the violinist swaying with each bow stroke. To John Paul Ito, these actions are not just a visual display; rather, they reveal what it really means for musicians to move with the beat, organizing the flow of notes from beat to beat and shaping the sound produced. By developing "focal impulse theory," Ito shows how a performer's choices of how to move with the meter can transform the music's expressive contours. Change the dance of the performer's body, and you change the dance of the notes. As Focal Impulse Theory deftly illustrates, bodily movements carry musical meaning and, in a very real sense, are meaning.
Expression and Truth
Author: Lawrence Kramer
Publisher: University of California Press
ISBN: 0520273966
Category : Music
Languages : en
Pages : 184
Book Description
Expression and truth are traditional opposites in Western thought: expression supposedly refers to states of mind, truth to states of affairs. Expression and Truth rejects this opposition and proposes fluid new models of expression, truth, and knowledge with broad application to the humanities. These models derive from five theses that connect expression to description, cognition, the presence and absence of speech, and the conjunction of address and reply. The theses are linked by a concentration on musical expression, regarded as the ideal case of expression in general, and by fresh readings of Ludwig Wittgenstein’s scattered but important remarks about music. The result is a new conception of expression as a primary means of knowing, acting on, and forming the world. “Recent years have seen the return of the claim that music’s power resides in its ineffability. In Expression and Truth, Lawrence Kramer presents his most elaborate response to this claim. Drawing on philosophers such as Wittgenstein and on close analyses of nineteenth-century compositions, Kramer demonstrates how music operates as a medium for articulating cultural meanings and that music matters too profoundly to be cordoned off from the kinds of critical readings typically brought to the other arts. A tour-de-force by one of musicology’s most influential thinkers.”—Susan McClary, Desire and Pleasure in Seventeenth-Century Music.
Publisher: University of California Press
ISBN: 0520273966
Category : Music
Languages : en
Pages : 184
Book Description
Expression and truth are traditional opposites in Western thought: expression supposedly refers to states of mind, truth to states of affairs. Expression and Truth rejects this opposition and proposes fluid new models of expression, truth, and knowledge with broad application to the humanities. These models derive from five theses that connect expression to description, cognition, the presence and absence of speech, and the conjunction of address and reply. The theses are linked by a concentration on musical expression, regarded as the ideal case of expression in general, and by fresh readings of Ludwig Wittgenstein’s scattered but important remarks about music. The result is a new conception of expression as a primary means of knowing, acting on, and forming the world. “Recent years have seen the return of the claim that music’s power resides in its ineffability. In Expression and Truth, Lawrence Kramer presents his most elaborate response to this claim. Drawing on philosophers such as Wittgenstein and on close analyses of nineteenth-century compositions, Kramer demonstrates how music operates as a medium for articulating cultural meanings and that music matters too profoundly to be cordoned off from the kinds of critical readings typically brought to the other arts. A tour-de-force by one of musicology’s most influential thinkers.”—Susan McClary, Desire and Pleasure in Seventeenth-Century Music.
Music and Meaning
Author: Jenefer Robinson
Publisher: Cornell University Press
ISBN: 150172973X
Category : Music
Languages : en
Pages : 276
Book Description
In order to promote new ways of thinking about musical meaning, this volume brings together scholars in music theory, musicology, and the philosophy of music, disciplines generally treated as separate and distinct. This interdisciplinary collaboration, while respecting differences in perspective, identifies and elaborates shared concerns. This volume focuses on the many and various kinds of meaning in music. Do musical meanings exist exclusively in internal, formal musical relations or might they also be found in the relationship between music and other areas of experience, such as action, emotion, ideas, and values? Also discussed is the vexed question why people listen to and apparently enjoy music which expresses unpleasant emotions, such as melancholy or despair. Among the particular pieces the writers discuss are Mahler's Ninth Symphony, Shostakovich's Tenth Symphony, and Schubert's last sonata. More broadly, they consider the relation of musical meaning and interpretation to language, storytelling, drama, imagination, metaphor, and emotion.
Publisher: Cornell University Press
ISBN: 150172973X
Category : Music
Languages : en
Pages : 276
Book Description
In order to promote new ways of thinking about musical meaning, this volume brings together scholars in music theory, musicology, and the philosophy of music, disciplines generally treated as separate and distinct. This interdisciplinary collaboration, while respecting differences in perspective, identifies and elaborates shared concerns. This volume focuses on the many and various kinds of meaning in music. Do musical meanings exist exclusively in internal, formal musical relations or might they also be found in the relationship between music and other areas of experience, such as action, emotion, ideas, and values? Also discussed is the vexed question why people listen to and apparently enjoy music which expresses unpleasant emotions, such as melancholy or despair. Among the particular pieces the writers discuss are Mahler's Ninth Symphony, Shostakovich's Tenth Symphony, and Schubert's last sonata. More broadly, they consider the relation of musical meaning and interpretation to language, storytelling, drama, imagination, metaphor, and emotion.
Music as Metaphor
Author: Donald Nivison Ferguson
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 198
Book Description
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 198
Book Description
Music's Meanings
Author: Philip Tagg
Publisher:
ISBN: 9780970168481
Category : Ethnomusicology
Languages : en
Pages : 702
Book Description
“In addressing a pedagogical problem ―how to talk about music as if it meant something other than itself – Philip Tagg raises fundamental questions about western epistemology as well as some of its strategically mystifying discourses. With an unsurpassed authority in the field, the author draws on a lifetime of critical reflection on the experience of music, and how to communicate it without resorting to exclusionary jargon. This is a must-read book for anyone interested in music, for whatever reason: students, teachers, researchers, performers, industry and policy stakeholders, or just to be able to talk intelligently about the musical experience.” (Prof. Bruce Johnson)
Publisher:
ISBN: 9780970168481
Category : Ethnomusicology
Languages : en
Pages : 702
Book Description
“In addressing a pedagogical problem ―how to talk about music as if it meant something other than itself – Philip Tagg raises fundamental questions about western epistemology as well as some of its strategically mystifying discourses. With an unsurpassed authority in the field, the author draws on a lifetime of critical reflection on the experience of music, and how to communicate it without resorting to exclusionary jargon. This is a must-read book for anyone interested in music, for whatever reason: students, teachers, researchers, performers, industry and policy stakeholders, or just to be able to talk intelligently about the musical experience.” (Prof. Bruce Johnson)
Emotion and Meaning in Music
Author: Leonard B. Meyer
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 328
Book Description
"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 328
Book Description
"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review
The Musical Representation
Author: Charles O. Nussbaum
Publisher: MIT Press
ISBN: 0262140969
Category : Emotions in music
Languages : en
Pages : 401
Book Description
How human musical experience emerges from the audition of organized tones is a riddle of long standing. In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain. He argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals. Construing the art music of the modern West as representational, as a symbolic system that carries extramusical content, Nussbaum attempts to make normative principles of musical representation explicit and bring them into reflective equilibrium with the intuitions of competent listeners. Nussbaum identifies three modes of musical representation, describes the basis of extramusical meaning, and analyzes musical works as created historical entities (performances of which are tokens or replicas). In addition, he explains how music gives rise to emotions and evokes states of mind that are religious in character. Nussbaum's argument proceeds from biology, psychology, and philosophy to music--and occasionally from music back to biology, psychology, and philosophy. The human mind-brain, writes Nussbaum, is a living record of its evolutionary history; relatively recent cognitive acquisitions derive from older representational functions of which we are hardly aware. Consideration of musical art can help bring to light the more ancient cognitive functions that underlie modern human cognition. The biology, psychology, and philosophy of musical representation, he argues, have something to tell us about what we are, based on what we have been.
Publisher: MIT Press
ISBN: 0262140969
Category : Emotions in music
Languages : en
Pages : 401
Book Description
How human musical experience emerges from the audition of organized tones is a riddle of long standing. In The Musical Representation, Charles Nussbaum offers a philosophical naturalist's solution. Nussbaum founds his naturalistic theory of musical representation on the collusion between the physics of sound and the organization of the human mind-brain. He argues that important varieties of experience afforded by Western tonal art music since 1650 arise through the feeling of tone, the sense of movement in musical space, cognition, emotional arousal, and the engagement, by way of specific emotional responses, of deeply rooted human ideals. Construing the art music of the modern West as representational, as a symbolic system that carries extramusical content, Nussbaum attempts to make normative principles of musical representation explicit and bring them into reflective equilibrium with the intuitions of competent listeners. Nussbaum identifies three modes of musical representation, describes the basis of extramusical meaning, and analyzes musical works as created historical entities (performances of which are tokens or replicas). In addition, he explains how music gives rise to emotions and evokes states of mind that are religious in character. Nussbaum's argument proceeds from biology, psychology, and philosophy to music--and occasionally from music back to biology, psychology, and philosophy. The human mind-brain, writes Nussbaum, is a living record of its evolutionary history; relatively recent cognitive acquisitions derive from older representational functions of which we are hardly aware. Consideration of musical art can help bring to light the more ancient cognitive functions that underlie modern human cognition. The biology, psychology, and philosophy of musical representation, he argues, have something to tell us about what we are, based on what we have been.
Musical Communication
Author: Dorothy Miell
Publisher: Oxford University Press, USA
ISBN: 9780198529354
Category : Education
Languages : en
Pages : 460
Book Description
"Bringing together leading researchers from a variety of academic and applied backgrounds, this book examines how music can be used to communicate, as well as the biological, cognitive, social, and cultural processes which underlie such communication."--BOOK JACKET.
Publisher: Oxford University Press, USA
ISBN: 9780198529354
Category : Education
Languages : en
Pages : 460
Book Description
"Bringing together leading researchers from a variety of academic and applied backgrounds, this book examines how music can be used to communicate, as well as the biological, cognitive, social, and cultural processes which underlie such communication."--BOOK JACKET.