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. |
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... larger, more heterogeneous one that I originally had in mind. And lastly, I thank Rowena Anketell for her excellent and constructive copyediting. 1 Philosophy and Music A curious question, how philosophy and INTRODUCTION.
... larger, more heterogeneous one that I originally had in mind. And lastly, I thank Rowena Anketell for her excellent and constructive copyediting. 1 Philosophy and Music A curious question, how philosophy and INTRODUCTION.
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... mind and body of a human being. In parallel fashion, the standard object of philosophical activity, at. 2 Of course this ideal of musical wholeness or completeness is less in evidence, or is even pointedly declined, in various modes of ...
... mind and body of a human being. In parallel fashion, the standard object of philosophical activity, at. 2 Of course this ideal of musical wholeness or completeness is less in evidence, or is even pointedly declined, in various modes of ...
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... minds of their authors. Next, thoughtfulness. Neither a philosophical text nor a musical composition is literally an ... mind of a comprehending reader or listener, a parallel process of thought.3 But why call musical succession—the ...
... minds of their authors. Next, thoughtfulness. Neither a philosophical text nor a musical composition is literally an ... mind of a comprehending reader or listener, a parallel process of thought.3 But why call musical succession—the ...
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... mind, and that we hear under the influence of that postulate.4 Indeed, a central criterion of success for both musical and philosophical discourses, the products of musical and philosophical activity, is that such discourses compel ...
... mind, and that we hear under the influence of that postulate.4 Indeed, a central criterion of success for both musical and philosophical discourses, the products of musical and philosophical activity, is that such discourses compel ...
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... mind and an estimation of their value and importance, to oneself and to others. So insofar as great works of music can make such states more available, more transparent, or just more vivid to us, they have a real practicality for life.6 ...
... mind and an estimation of their value and importance, to oneself and to others. So insofar as great works of music can make such states more available, more transparent, or just more vivid to us, they have a real practicality for life.6 ...
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 | |
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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