By Andy Hamilton
The e-book appears to be like at:
The event of listening
Rhythm and musical flow
What modernism has intended for musical aesthetics
The relation of track to different 'sound arts'
Improvisation and composition in addition to extra conventional concerns in musical aesthetics akin to absolute as opposed to programme track and the query of musical formalism.
Thinkers mentioned diversity from Pythagoras and Plato to Kant, Nietzsche and Adorno. components of song lined contain classical, well known and standard song, and jazz. Aesthetics and Music makes an eloquent case for a humanistic, democratic and certainly aesthetic belief of track and musical realizing. an individual attracted to what modern philosophy has to claim approximately tune as an artwork shape will locate this thought-provoking and hugely relaxing publication required examining.
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Extra resources for Aesthetics and Music
28 AESTHETICS AND MUSIC IN ANCIENT GREECE THE SEPARATION OF THE VALUE SPHERES As noted earlier, Kristeller's thesis that the Greeks lacked a system of the arts has been interpreted as involving a deeper claim: that the value spheres of the aesthetic, the ethical and the cognitive, which we now take as separate, were not distinct. That is, judgements about the beautiful, the good and the true, which we assume to be made on separate bases, were somehow drawn together. Thus Martha Nussbaum writes that For the ancient Greeks ...
However, the unity of poetry, music and dance in Ancient Greece, and the absence of a system of fine arts, illustrates a more general problem concerning the presence of music in cultures radically divergent from our own. Despite differences in its conceptualization which this assimilation shows, writers consistently refer to music - in our sense - in Ancient Greece without doubting that the concept is instantiated. This indeed seems 31 AESTHETICS AND MUSIC correct, but in the light of anthropological attitudes it is perhaps surprising.
Mueller (1997). We will return later to Pythagoras' concept of the acousmatic. In fact, he sees himself as offering a middle way between the extreme rationalism of Parmenides and the extreme empiricism of Heraclitus. See Hussey (1997). As Waterfield comments, in Plato (1993), p. 530b. Plato (1993), 530d, 531c; see Burkert (1972), p. 371. Cicero (1998), Book 6, Chapter 5. Plato (1993), 398e^00c; 424b-c. Plato (1970), ii, 664a. Lippman (1977), p. 76. Aristotle (1998), 985b32-986a2, 1090a20-23, 1093a28-b4; also Aristotle (1939), 290b21-3.
Aesthetics and Music by Andy Hamilton