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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... sort in the classical tradition are not pure abstract structures, like geometrical forms, but instead, impure indicated structures. In the present essay I attempt to further clarify and defend the idea of musical and literary works as ...
... sort in the classical tradition are not pure abstract structures, like geometrical forms, but instead, impure indicated structures. In the present essay I attempt to further clarify and defend the idea of musical and literary works as ...
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... sort of temporality attributable to an art form is addressed at the end of the essay, though there is clearly more to be said on that score than we there manage to say. I thank my editor Peter Momtchiloff for his exceptional flexibility ...
... sort of temporality attributable to an art form is addressed at the end of the essay, though there is clearly more to be said on that score than we there manage to say. I thank my editor Peter Momtchiloff for his exceptional flexibility ...
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... sort that philosophy and music can bear to one another. 1. First, there is the phenomenon of music inspiring philosophy. This can take the form of a philosophical system such as that of Schopenhauer, which both accords music a supreme ...
... sort that philosophy and music can bear to one another. 1. First, there is the phenomenon of music inspiring philosophy. This can take the form of a philosophical system such as that of Schopenhauer, which both accords music a supreme ...
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... sort, whose main tendency is formal and cerebral, such as the music of Bach or Webern and some kinds of modern jazz ... sort. The following three suggest themselves: a. Both philosophy and music typically aim, in different ways, at ...
... sort, whose main tendency is formal and cerebral, such as the music of Bach or Webern and some kinds of modern jazz ... sort. The following three suggest themselves: a. Both philosophy and music typically aim, in different ways, at ...
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... sort, is to issue in a piece of philosophy, that is to say, a text, in which is expressed a philosophical position, system, or worldview. And such a piece of philosophy normally aspires to a similar condition of wholeness, completeness ...
... sort, is to issue in a piece of philosophy, that is to say, a text, in which is expressed a philosophical position, system, or worldview. And such a piece of philosophy normally aspires to a similar condition of wholeness, completeness ...
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