Music and Humanism
An Essay in the Aesthetics of Music
Seiten
2000
Clarendon Press (Verlag)
978-0-19-823885-0 (ISBN)
Clarendon Press (Verlag)
978-0-19-823885-0 (ISBN)
Robert Sharpe examines fundamental questions about our understanding and appreciation of music, towards a reassessment of the conception of music that has been dominant in Western culture. He focuses on the problem of expression in music, and on the role of pleasure in aesthetic judgement.
Is music sad because it causes the listener to feel sad? Is it to be valued because of the pleasure it gives us? R. A. Sharpe argues that the views these questions enshrine underestimate the cognitive element in our response to music. Our beliefs about music and our knowledge of the culture in which it originated underlie the judgements we make. At their most general, these cognitive elements are ideological in nature and they play both a positive and a negative role in our response to music--they both help and hinder. Music has long been thought of as a language. This metaphor underpins the way we hear music and the way we think about it. We conceive of music both as expressive and as something to be understood. Almost certainly the roots of this conception lie in the fertilization of music by rhetoric during the Renaissance. Sharpe suggests that music may have entered a new period in which the language analogy and the humanist conception of music which it expresses are becoming less and less appropriate.
Is music sad because it causes the listener to feel sad? Is it to be valued because of the pleasure it gives us? R. A. Sharpe argues that the views these questions enshrine underestimate the cognitive element in our response to music. Our beliefs about music and our knowledge of the culture in which it originated underlie the judgements we make. At their most general, these cognitive elements are ideological in nature and they play both a positive and a negative role in our response to music--they both help and hinder. Music has long been thought of as a language. This metaphor underpins the way we hear music and the way we think about it. We conceive of music both as expressive and as something to be understood. Almost certainly the roots of this conception lie in the fertilization of music by rhetoric during the Renaissance. Sharpe suggests that music may have entered a new period in which the language analogy and the humanist conception of music which it expresses are becoming less and less appropriate.
R. A. Sharpe is Professor Emeritus of Philosophy at the University of Wales, Lampeter. He has held visiting positions in America, Australia, and Finland.
PART I: NATURALIZING MUSIC; 1. NATURALIZING MUSIC; 2. LANGUAGE AND METAPHOR, EMOTIONS AND MOOD; 3. MUSIC, RHETORIC, AND ORATORY; PART II: PLAYING OFF OLD SCORES; 4. THE MOTIVATIONS FOR MUSICAL ONTOLOGY: A GERMAN IDEOLOGY; 5. PERFORMANCE; 6. MUSIC'S RULING MYTHS; PART III: HUMANISM FOUNDERS; 7. HUMANISM FOUNDERS? BIBLIOGRAPHY; INDEX
Erscheint lt. Verlag | 1.7.2000 |
---|---|
Verlagsort | Oxford |
Sprache | englisch |
Maße | 145 x 224 mm |
Themenwelt | Kunst / Musik / Theater ► Musik ► Musiktheorie / Musiklehre |
Geisteswissenschaften ► Philosophie ► Philosophie der Neuzeit | |
ISBN-10 | 0-19-823885-1 / 0198238851 |
ISBN-13 | 978-0-19-823885-0 / 9780198238850 |
Zustand | Neuware |
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