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Index
Cover Page Title Page Copyright Page List of Figures Notes On Contributors Preface Acknowledgments Part I: General Issues
1. Definition
Philosophical Definitions The History of Philosophy of Music Working Toward a Definition of “Music” Conclusion References
2. Silence, Sound, Noise, and Music
Musical Sound and Musical Noise Musical Silence References Further Reading
3. Rhythm, Melody, and Harmony
Rhythm Melody Harmony The Cadence Tonality References
4. Ontology
Ontology Meta-Ontology References
5. Medium
On the General Notion of an Artistic Medium Medium In Music Vehicular Medium In Music Artistic Medium In Music The Nature of the Vehicular Medium In Music: Sonicism and Instrumentalism Contextualism and the Artistic Medium In Music References
6. Improvisation
The Historical Data Two Ideologies of Improvisation Improvisation and Artistic Quality What Is Improvisation? The Ontology of Improvisation References
7. Notations
Generic and Instrument-Specific Notations Functions of Notations Nelson Goodman On Musical Notations References Further Reading
8. Performances and Recordings
Performances Musical Recordings Conclusion References Further Reading
9. Authentic Performance Practice
Conceptual Analysis Ideology Value References
10. Music and Language
Formulating the Issues General Capacities Shared By Language and Music Differences In Ecological Function Similarities and Differences In Formal Structure Conclusion References
11. Music and Imagination
Imagination Basic Musical Perception Imagination and Musical Expressiveness Music, Imagination, and Culture References
12. Understanding Music
Perceptual and Epistemic Views of Musical Understanding Eggebrecht’s Comprehensive Theory States of Understanding and States of Belief References
13. Style
The Nature of Musical Style and Styles Style and the Western Musical Tradition The Elements of Musical Style Understanding Musical Style References Further Reading
14. Aesthetic Properties
Formalism Realism Sublimity and Profundity References
15. Value
A Mystery Appreciation The World of Music References
16. Evaluating Music
Two Modes of Evaluating Evaluative Principles Criticisms of Evaluative Principles Non-Aesthetic Evaluation References
17. Appropriation and Hybridity
Conceptual Clarifications Can Appropriation Be Aesthetically Successful? Proprietary Questions Other Forms of Harm Offensive Appropriation References
18. Instrumental Technology
Human Technology Musical Instruments Technical Thinking Tools and Machines The Rise of the Machines The Dark Side of Technology I’ll Be Back, or, the Return of the Performer Conclusion References
Part II: Emotion
19. Expression Theories
Animating Music: Musical Expressiveness As “Hearing-As” Music As the Expression of Emotion: A Romantic Theory References Further Reading
20. Arousal Theories
The Problem of Negative Emotions Arousal In Non-Arousalist Theories Arousal Theories References Further Reading
21. Resemblance Theories
Introduction Resemblance Theories Criticisms Resemblance-Plus-Imagination Conclusion References Further Reading
22. Music’s Arousal of Emotions
Emotion and Musical Appreciation The Nature of Emotions The Musical Expression of Emotion and the Emotional Qualities of Music The Aesthetic Significance of Music’s Arousal of Emotions References Further Reading
Part III: History
23. Classical Aesthetic Traditions of India, China, and the Middle East
India China Arabic and Persian Writings In the Early Centuries of Islam References Further Reading
24. Antiquity and the Middle Ages
Pythagoras and the Pythagoreans Plato and Aristotle Aristoxenus Epicureans and Skeptics Early Latin Writers: Cicero and Varro Philo Judaeus Greek Writers of Later Antiquity Latin Writers of Later Antiquity The Carolingian Renaissance and Beyond References Further Reading
25. The Early Modern Period
Music and Rationalism In France Music and the French Enlightenment Philosophy of Music In Britain Thinking About Music In Germany References
26. Continental Philosophy and Music
History The Sociopolitical Anti-Scientism References
27. Analytic Philosophy and Music
Music In the Development of Aesthetic Thought Philosophy of Music 1900–80 Analytic Philosophy of Music Since 1980 References
Part IV: Figures
28. Plato
Cultural Context Music In the Republic Music In the Laws Epilogue: Philosophy As Music References Further Reading
29. Rousseau
Early Work In Music Le Devin Du Village: A New Style of Opera Social and Political Philosophy Music and Community References Further Reading
30. Kant
Introduction Kant On Beauty Kant On Sublimity Kant On Art Kant On Music Conclusion: A Kantian Philosophy of Music? References Further Reading
31. Schopenhauer
Schopenhauer’s Philosphical Framework The Argument for Music’s Unique Status Music and the Phenomenal World Music’s Representational Character Music’s Expressive Character References Further Reading
32. Nietzsche
The Spirit of Music The Case of Wagner Philosophy and Dionysian Music References Further Reading
33. Hanslick
“Absolute Music” and the Idea of Musical Formalism Aesthetics, Criticism, and History References Further Reading
34. Gurney
The Non-Representational Nature of Music Musical Emotion Music, Emotion and Darwin Impressive and Unimpressive Musical Forms Ideal Motion As the Distinctive Character of Abstract Musical Forms Impressive and Expressive Music Musical Criticism References Further Reading
35. Wagner
Opera or Symphony? Music As Means or End? Apollonian Representation or Dionysian Will? (The Beautiful or the Sublime?) References Further Reading
36. Adorno
Adorno’s Aesthetics of Modernism Adorno and Hegel: Dialectic, Historicism and Truth-Content Adorno and Marx: Music and Art As Commodity or Social Fact The Culture Industry Music of the Avant-Garde: Adorno’s Limited Grounds for Optimism Autonomous Music As Social Critique Autonomous Music and the Musical Work Autonomous Practice: Qualifying Adorno’s Standpoint References Further Reading
Part V: Kinds of Music
37. Popular Music
What Is Popular Music? Popular Music As Art The Social Vs. the Aesthetic Point of View References
38. Rock
Definition Authenticity Understanding and Meaning Evaluation References
39. Jazz
Does Jazz Have an Essence? An Evolutionary Jazz History Essentialism and Its Vicissitudes Ontology Jazz and the Culture Wars References
40. Song
Defining “song” Meaning In Songs Ontology Performance Why Sing? References Further Reading
41. Opera
Ontology Aesthetics References
42. Music and Motion Pictures
What Is Motion-Picture Music? The Implicit Fictional Presenter References Further Reading
43. Music and Dance
The Special Relationship The Body Choreography References
44. Visual Music and Synesthesia
Visual Music Synesthesia References
Part VI: Music, Philosophy, and Related Disciplines
45. Musicology
On Music and Musicology A Very Brief History of Modern Musciology Current Practice In Historical Musicology Music Theory and Analysis References
46. Music Theory and Philosophy
Introduction Intersections In the Ancient and Medieval Historical Eras – Music Theory As Philosophy Intersections of Philosophy and Music Theory In the Eighteenth and Nineteenth Centuries Intersections In the Twentieth and Twenty-First Centuries Conclusion References Further Reading
47. Composition
Notation Performances and Playbacks Composer and Audience Pure Music and Musical Drama References
48. Analysis
Defining Analysis Conceptualizing What We Hear Accounting for What We Hear Finding What We Might Hear Prospects References Further Reading
49. Ethnomusicology
Issues of Scope, Definition, and Analytical Approach Case Studies Modernity and Traditional Aesthetic Systems References
50. Music and Politics
Collaborative Politics The Politics of Critique Music and the Limits of Politics References
51. Sociology and Cultural Studies
Preliminaries Sociological Foundations Popular Music and Sociology Approaches Conclusion References
52. Music and Gender
Overview McClary On Musical Meaning McClary On Musical Experience and Social Function Evaluation of McClary’s Ideas, and Alternatives References
53. Phenomenology of Music
Introduction to Phenomenology Roman Ingarden: The Ontology of the Musical Work Listening and Sound: The Description of Hearing Music Aural Context: The Hermeneutics of Music Conclusion References Further Reading
54. Music, Philosophy, and Cognitive Science
Scientific Research Some Philosophical Implications References
55. Psychology of Music
Early History Recent History Current Trends Excesses and Deficits Methods References
56. Music Education
Philosophical Interest In Music Education Musical Practices Musical Analysis Strict Aesthetic Formalism Enhanced Aesthetic Formalism Praxialism References
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