By R.A. Sharpe
This energetic and lucid advent to the philosophy of song concentrates at the concerns that light up musical listening and perform. It examines the conceptual debates correct to the knowledge and appearing of song and grounds the philosophy to sensible issues all through. perfect for a starting readership with little philosophical heritage, the writer offers an summary of the crucial debates enlivened by way of a true experience of enthusiasm for the topic and why it concerns. The publication starts off by way of filling within the historic historical past and gives readers a succinct precis of philosophical considering on track from the traditional Greeks to Eduard Hanslick and Edmund Gurney. bankruptcy 2 explores significant questions: what's it that makes track, or, to be designated, a few items of song, artistic endeavors? And, what's the paintings of tune in keeping with se? Is it simply what we pay attention, the functionality, or is it anything over and above that, whatever we invent or detect? bankruptcy three discusses an issue pecullar to song and one on the middle of philosophical dialogue of it, can track have a that means? And if that is so, what can or not it's? bankruptcy four considers no matter if song may have price. Are there good points approximately song that make it stable, gains which are laid out in standards? Is a piece solid if and provided that it meets with the approval of an preferably certified listener? How will we clarify ameliorations of opinion? certainly, why will we have the desire to make decisions of the relative worth of items of track in any respect? This attractive and stimulating e-book can be of curiosity to scholars of aesthetics, musical practitioners and the overall reader searching for a non-technical remedy of the topic
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Additional info for Philosophy of Music: an Introduction
So Hanslick brusquely rebuts the view that music’s purpose is to arouse feelings; he remarks that beauty has no purpose; it is mere form and remains beauty even if no feelings are aroused. It is here that his position seems most resolutely formalist. Hanslick is right to stress the difference between the properties of the music and our response to it and the distinction certainly matters when we come to those questions of value that are his main concern. There is a difference between the value of the music and the value of the experience we get out of it, for a start.
These are, of course, “improper uses”. There are also improper uses for art. To play The Rite of Spring very loudly to annoy the neighbours, or to pick a Howard Hodgkin to complete the decor or to use the full score of Der Rosenkavalier to stop a table wobbling are all improper uses. But these are peripheral cases and the admonition that the work of art is being “used improperly” is presumably jocular. But it is not an improper use of a work of art to interpret it in a way that its creator did not intend, even if the interpretation is indefensible.
I like the sound of birdsong in my garden. But, like other people who are comfortable living in the country, there is much I don’t like: the sound of crows and jays, the bleating of sheep and the roar of low-flying aircraft. I don’t like the sound of vomiting either. Cage does not give us any reason for preferring other sounds to music and, indeed, we should be surprised were he able. He wants us to direct the concentrated attention normally required of music to these everyday sounds but, although it is conceivable that people might come to prefer these sounds, he gives no grounds for supposing they would nor any for supposing this is not a dereliction of taste rather than any sort of advance.