Aesthetics and Music

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ISBN: 9780826485199 | 0826485197
Cover: Paperback
Copyright: 8/29/2007

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An engaging but sophisticated look at the debates and ideas involved in the aesthetics of music - part of a major new series from Continuum.

List of illustrations	p. vii
Introduction	p. 1
Aesthetics and Music in Ancient Greece	p. 10
Music and mousike, art and techne	p. 11
The Pythagorean and Platonic-Pythagorean mathematical conception	p. 19
The ethical conception, and Plato's more empirically-minded successors Aristotle and Aristoxenus	p. 26
The separation of the value spheres	p. 29
Medieval and Renaissance musical thought	p. 32
The Concept of Music	p. 40
The possibility of non-musical aural or sound-art	p. 40
The concept of music	p. 46
Sounds, tones and sound-art	p. 59
The Aesthetics of Form, the Aesthetics of Expression, and 'Absolute Music': aesthetics of music in the late eighteenth and nineteenth centuries	p. 66
The Romantic metaphysics of music	p. 67
Kant and formalism	p. 70
Hegel: historicism and truth-content	p. 72
Schopenhauer and Wagner: absolute music	p. 76
Nietzsche: the Apollonian and the Dionysian	p. 78
Hanslick and formalism	p. 81
Expression, form and absolute music	p. 82
The Sound of Music	p. 95
The acousmatic experience of sound	p. 96
Pythagoras and musique concrete	p. 98
A broader definition of 'acousmatic'	p. 101
Objections to the acousmatic thesis	p. 103
The twofold thesis	p. 108
A humanistic conception of music versus more abstract conceptions	p. 111
Rhythm and Time	p. 119
Music as an art of time	p. 120
The universality of rhythm	p. 122
A Platonic, organic definition	p. 127
Rhythm and metre	p. 130
Rhythm and accent	p. 137
Rhythm and movement	p. 142
Adorno and Modernism: music as autonomous and 'social fact'	p. 153
The advent of modernism	p. 153
Adorno's aesthetics of modernism	p. 158
Adorno and Kant: art as autonomous and purposeless	p. 160
Adorno and Hegel: dialectic, historicism and truth-content	p. 163
Adorno and Marx: art as commodity or social fact	p. 166
The culture industry	p. 171
Music of the avant-garde: Adorno's limited grounds for optimism	p. 174
Dialectics and the autonomy of art	p. 179
Improvisation and Composition	p. 192
The aesthetics of perfection and imperfection	p. 193
The concept of improvisation and 'improvised feel'	p. 199
Spontaneity and the aesthetics of perfection	p. 204
Free improvisers, interpreters and 'improvisation as a compositional method'	p. 207
Bibliography	p. 218
Index	p. 235
Table of Contents provided by Ingram. All Rights Reserved.

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Aesthetics and Music

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