Musical Concerns: Essays in Philosophy of MusicThis volume presents a new collection of essays, all of them dealing with music, by Jerrold Levinson, one of the most prominent philosophers of art today. It follows in the line of Levinson's earlier collections, Music, Art, and Metaphysics (1990), The Pleasures of Aesthetics (1996), and Contemplating Art (2006), and is representative of the most stimulating work being done under the rubric of analytic aesthetics. The essays, which are wide-ranging, should appeal to aestheticians, philosophers, musicologists, music theorists, music critics and music lovers of all kinds. Three of the twelve essays comprising the volume have not previously been published, and in somewhat of a departure for Levinson, four of the essays focus on music in the jazz tradition. |
From inside the book
Results 1-5 of 54
Page
... course of which I draw out and underline some connections between them. “What Is a Temporal Art?,” co-authored with Alperson, and the final essay in this collection, is the only essay included here not of recent vintage, though it has ...
... course of which I draw out and underline some connections between them. “What Is a Temporal Art?,” co-authored with Alperson, and the final essay in this collection, is the only essay included here not of recent vintage, though it has ...
Page
... For a revelatory account of the power and import of perhaps Wagner's greatest opera, see Roger Scruton's study, Death-Devoted Heart (Oxford: OUP, 2004). 2 Of course this ideal of musical wholeness or completeness PHILOSOPHY AND MUSIC.
... For a revelatory account of the power and import of perhaps Wagner's greatest opera, see Roger Scruton's study, Death-Devoted Heart (Oxford: OUP, 2004). 2 Of course this ideal of musical wholeness or completeness PHILOSOPHY AND MUSIC.
Page
... course this ideal of musical wholeness or completeness is less in evidence, or is even pointedly declined, in various modes of modern music, where an ideal of open-ended composition instead holds sway. I am thinking of aleatory and ...
... course this ideal of musical wholeness or completeness is less in evidence, or is even pointedly declined, in various modes of modern music, where an ideal of open-ended composition instead holds sway. I am thinking of aleatory and ...
Page
... course, but nevertheless a vision—of aspects of human reality, the likeliest such aspects being emotions, attitudes, behaviors, and forms of life. Think of the slow movement of Beethoven's Ninth Symphony, the first movements of Mahler's ...
... course, but nevertheless a vision—of aspects of human reality, the likeliest such aspects being emotions, attitudes, behaviors, and forms of life. Think of the slow movement of Beethoven's Ninth Symphony, the first movements of Mahler's ...
Page
... course, by force of argument or reasoning, but rather through the intuitively felt rightness of what they give listeners to experience. Finally, practicality. Certain works of music might be said, in something like the manner of great ...
... course, by force of argument or reasoning, but rather through the intuitively felt rightness of what they give listeners to experience. Finally, practicality. Certain works of music might be said, in something like the manner of great ...
Contents
The Aesthetic Appreciation of Music | |
Concatenationism Architectonicism and the Appreciation of Music | |
Indication Abstraction and Individuation | |
Musical Beauty | |
Values of Music | |
Shame in General and Shame in Music | |
Jazz Vocal Interpretation | |
Popular Song as Moral Microcosm | |
The Expressive Specificity of Jazz | |
Instrumentation and Improvisation | |
What Is a Temporal Art? | |
Index | |
Other editions - View all
Common terms and phrases
action aesthetic appreciation aesthetic experience aesthetic value Alperson appreciation of music architectonic art form artistic indication artistic value artworks ashamed aspect basic musical understanding beautiful music Beethoven’s character characterized claim clearly composers composition concatenationism convey course dance distinctive effect emotional engagement essay ethical quality example feel film Gabriel Fauré Handmaid’s Tale hear improvisation indicated structures instance instrument involved Ithaca jazz standard jazz vocal interpretation John Coltrane Journal of Aesthetics Kivy Kivy’s label least Levinson listener melody mind moral force motion movement musical beauty Musical Expressiveness musical improvisation narrowly beautiful music Ninth Symphony novel object one’s Oxford perception performer’s performing personality perhaps Peter Kivy philosophy piano piece of music quasi-hearing question reflection regard Roger Scruton Scruton sense shame simply singer singing sonata sonata form song song’s Sophisticated Lady sort specific String Quartet suggest Symphony temporal art thing timbre tonal value of music