Aesthetics and Music
by Hamilton, AndyFormat: Paperback
Pub. Date: 2007-08-29
Publisher(s): Bloomsbury Academic
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Summary
An engaging but sophisticated look at the debates and ideas involved in the aesthetics of music - part of a major new series from Continuum.
Table of Contents
| List of illustrations | p. vii |
| Introduction | p. 1 |
| Aesthetics and Music in Ancient Greece | p. 10 |
| Music and mousike, art and techne | p. 11 |
| The Pythagorean and Platonic-Pythagorean mathematical conception | p. 19 |
| The ethical conception, and Plato's more empirically-minded successors Aristotle and Aristoxenus | p. 26 |
| The separation of the value spheres | p. 29 |
| Medieval and Renaissance musical thought | p. 32 |
| The Concept of Music | p. 40 |
| The possibility of non-musical aural or sound-art | p. 40 |
| The concept of music | p. 46 |
| Sounds, tones and sound-art | p. 59 |
| The Aesthetics of Form, the Aesthetics of Expression, and 'Absolute Music': aesthetics of music in the late eighteenth and nineteenth centuries | p. 66 |
| The Romantic metaphysics of music | p. 67 |
| Kant and formalism | p. 70 |
| Hegel: historicism and truth-content | p. 72 |
| Schopenhauer and Wagner: absolute music | p. 76 |
| Nietzsche: the Apollonian and the Dionysian | p. 78 |
| Hanslick and formalism | p. 81 |
| Expression, form and absolute music | p. 82 |
| The Sound of Music | p. 95 |
| The acousmatic experience of sound | p. 96 |
| Pythagoras and musique concrete | p. 98 |
| A broader definition of 'acousmatic' | p. 101 |
| Objections to the acousmatic thesis | p. 103 |
| The twofold thesis | p. 108 |
| A humanistic conception of music versus more abstract conceptions | p. 111 |
| Rhythm and Time | p. 119 |
| Music as an art of time | p. 120 |
| The universality of rhythm | p. 122 |
| A Platonic, organic definition | p. 127 |
| Rhythm and metre | p. 130 |
| Rhythm and accent | p. 137 |
| Rhythm and movement | p. 142 |
| Adorno and Modernism: music as autonomous and 'social fact' | p. 153 |
| The advent of modernism | p. 153 |
| Adorno's aesthetics of modernism | p. 158 |
| Adorno and Kant: art as autonomous and purposeless | p. 160 |
| Adorno and Hegel: dialectic, historicism and truth-content | p. 163 |
| Adorno and Marx: art as commodity or social fact | p. 166 |
| The culture industry | p. 171 |
| Music of the avant-garde: Adorno's limited grounds for optimism | p. 174 |
| Dialectics and the autonomy of art | p. 179 |
| Improvisation and Composition | p. 192 |
| The aesthetics of perfection and imperfection | p. 193 |
| The concept of improvisation and 'improvised feel' | p. 199 |
| Spontaneity and the aesthetics of perfection | p. 204 |
| Free improvisers, interpreters and 'improvisation as a compositional method' | p. 207 |
| Bibliography | p. 218 |
| Index | p. 235 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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