By R.A. Sharpe
This full of life and lucid advent to the philosophy of track concentrates at the concerns that remove darkness from musical listening and perform. It examines the conceptual debates appropriate to the knowledge and acting of song and grounds the philosophy to sensible concerns all through. perfect for a starting readership with little philosophical historical past, the writer offers an summary of the crucial debates enlivened by way of a true experience of enthusiasm for the topic and why it concerns. The publication starts off by means of filling within the ancient historical past and gives readers a succinct precis of philosophical pondering on song from the traditional Greeks to Eduard Hanslick and Edmund Gurney. bankruptcy 2 explores critical questions: what's it that makes song, or, to be detailed, a few items of song, artworks? And, what's the paintings of track according to se? Is it simply what we listen, the functionality, or is it whatever over and above that, anything we invent or realize? bankruptcy three discusses an issue pecullar to song and one on the middle of philosophical dialogue of it, can track have a that means? And if this is the case, what can or not it's? bankruptcy four considers no matter if track could have price. Are there gains approximately tune that make it reliable, beneficial properties which are laid out in standards? Is a piece strong if and provided that it meets with the approval of an preferably certified listener? How can we clarify transformations of opinion? certainly, why can we intend to make decisions of the relative worth of items of track in any respect? This enticing and stimulating booklet may be of curiosity to scholars of aesthetics, musical practitioners and the final reader trying to find a non-technical remedy of the topic
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Additional resources for Philosophy of Music: an Introduction
Example text
Of course, Gurney knows nothing of these later developments but it is easy to see that he would disapprove of them. Melody is central to Gurney’s conception of music and, in this respect, he differs from Schenker. For harmony, thinks Gurney, is subsidiary, whereas in Schenker the harmonic cadence is basic. ) Our interest, he says, is in the surface of the music. What matters is “cogency of sequence at each point”,27 the enjoyment of the parts moment after moment. Overall structure, musical form and design are less significant in the pleasure of music.
In saying all this, I am not downgrading the liturgical or didactic use of art; the point is that qua work of art, considerations other than utility enter. Still, where an artefact does not belong to the central forms of the arts, the decision to classify it as a work of art may be a consequence of the fact that it “works” in the same way as standard works of art. When we decide to include jazz and some world music or some musicals (a very few) as works of art, we do so because we find that we respond in the same way to them as we do to standard works of art.
What about the Beatles? Well, probably most of “Sergeant Pepper” counts: certainly “A Day in the Life”. What about the operettas of Gilbert and Sullivan? Do we include West Side Story but exclude South Pacific? Porgy and Bess 34 THE WORK OF MUSIC gets in. Muzak certainly does not. We won’t include football’s World Cup songs, advertising jingles, most hymns and nursery rhymes. Do we include music by Dire Straits or folk songs? That is somewhat moot. Art music and philosophical analysis In the next part of this chapter I am going to examine some general accounts of why something counts as a work of art to see whether the question of when a piece of music counts as “art music” can be clarified thereby.
