Of Essence and Context [electronic resource] : Between Music and Philosophy /
Stanevičiūtė, Rūta.editor.
Zangwill, Nick.editor.
Povilionienė, Rima.editor.
This book provides a new approach to the intersections between music and philosophy. It features articles that rethink the concepts of musical work and performance from ontological and epistemological perspectives and discuss issues of performing practices that involve the performer’s and listener’s perceptions. In philosophy, the notion of essence has enjoyed a renaissance. However, in the humanities in general, it is still viewed with suspicion. This collection examines the ideas of essence and context as they apply to music. A common concern when thinking of music in terms of essence is the plurality of music. There is also the worry that thinking in terms of essence might be an overly conservative way of imposing fixity on something that evolves. Some contend that we must take into account the varying historical and cultural contexts of music, and that the idea of an essence of music is therefore a fantasy. This book puts forward an innovative approach that effectively addresses these concerns. It shows that it is, in fact, possible to find commonalities among the many kinds of music. The coverage combines philosophical and musicological approaches with bioethics, biology, linguistics, communication theory, phenomenology, and cognitive science. The respective chapters, written by leading musicologists and philosophers, reconsider the fundamental essentialist and contextualist approaches to music creation and experience in light of twenty-first century paradigm shifts in music philosophy.
Essence or Context? -- Musics, Essence and Context -- Essence Facilitating Plurality: Theorizing Art with Schelling -- Aristotle Meets Schumann: Essence and Geist -- Musical Images in the Tanakh: Between their Essence, Context and Interpretation -- Xi Kang’s Reflection on the Essence of Music: “Hesheng” -- Deleuze, Ruyer, and Musical Morphogenesis -- he Biological Constraints on Musical Structure as the Foundations of Musical Essence -- ‘In-between’ the Autonomous and Contingent Worlds of Music -- Formulating the Essence All Together -- Mathesis as the Source of Beauty in Music -- Some Remarks on Verbal Models in Music -- On the Role of Intonation in Music and Communication Practices -- In Defense of “Authentic” Performance: Adjust Your Ears, Not the Music -- Where is the Essence of a Musical Work? -- Performance as Understanding in Action: Re-thinking the Concept of Musical Experience -- What Is a Musical Act? Understanding Improvisation Through Artefact and Performance -- The Experience of Music as a Process of [Self]Development -- Essence and Context: Exploring the Links Between Music and Philosophy in the Light of Henriette Renié’s Reflections -- Redefining Essence: Tuning and Temperament of Chinese Traditional Music -- The Final Radicalism of the Avant-Garde and Its Postmodernist Consequences -- Essence and Context: Process of Becoming and Dialectical Temporality in Adorno and Nono -- The Distance of Presque-rien Between the Musicology and the Philosophy of Music -- Mikhail Gnessin on the Essence of Music and Russian Music -- Reflections About the Essence of Music in a Special Context: Music Reviews by Yuri Ofrosimov and Ludmila Landau in Berlin in the 1920s -- Essence, Context and Meaning in Versions of Wagner’s Wesendonck Lieder by Wagner, Mottland Henze -- Leitfigur Beethoven: Thoughts on the Development of German Musicology in Light of the 1968 Movement.
This book provides a new approach to the intersections between music and philosophy. It features articles that rethink the concepts of musical work and performance from ontological and epistemological perspectives and discuss issues of performing practices that involve the performer’s and listener’s perceptions. In philosophy, the notion of essence has enjoyed a renaissance. However, in the humanities in general, it is still viewed with suspicion. This collection examines the ideas of essence and context as they apply to music. A common concern when thinking of music in terms of essence is the plurality of music. There is also the worry that thinking in terms of essence might be an overly conservative way of imposing fixity on something that evolves. Some contend that we must take into account the varying historical and cultural contexts of music, and that the idea of an essence of music is therefore a fantasy. This book puts forward an innovative approach that effectively addresses these concerns. It shows that it is, in fact, possible to find commonalities among the many kinds of music. The coverage combines philosophical and musicological approaches with bioethics, biology, linguistics, communication theory, phenomenology, and cognitive science. The respective chapters, written by leading musicologists and philosophers, reconsider the fundamental essentialist and contextualist approaches to music creation and experience in light of twenty-first century paradigm shifts in music philosophy.
Music.
Philosophy (General).
Performing arts.
Music.
Philosophy, general.
Performing Arts.
Creativity and Arts Education.