MUSIC, PHILOSOPHY, AND MODERNITY
introduction 5 doing philosophy that relate to important tensions between the main traditions of modern philosophy. One of the r ...
6 music, philosophy, and modernity Cooper 2003 ). It does so in order to explore meaning as the very sub- stance of specifically ...
introduction 7 of how fundamental this difference should be seen as being for the ways in which language and other communicative ...
8 music, philosophy, and modernity were sometimes influenced by the emergence of the greatest Western music. We shall return to ...
introduction 9 makes no sense in these terms: what sort of ‘object’ is the music that is objectively manifest as frequencies, et ...
10 music, philosophy, and modernity between the subjective, the intersubjective, and the objective. What is trueabout either mus ...
introduction 11 the ultimate implication of my stance is that the very idea of a ‘philoso- phy of music’ is mistaken. This will ...
12 music, philosophy, and modernity adheres to before engaging with music. It is, in one sense, an appeal to the importance of l ...
introduction 13 not being painting, for example. Music has to be heard as such, and this hearing cannot be fully explained in in ...
14 music, philosophy, and modernity works and types of music, not least because I have not used detailed musical examples. This ...
1 Form, feeling, metaphysics, and music Form, meaning, and context Philosophical writers on music who argue that wordless music ...
16 music, philosophy, and modernity unconvincing. TheEroica’s massive expansion of symphonic form is, in the terms suggested in ...
form, feeling, metaphysics, and music 17 Although many of the same points concerning the contextuality of the understanding of f ...
18 music, philosophy, and modernity line is that what is supposed to be on each side of the line cannot be said to be stable. Fu ...
form, feeling, metaphysics, and music 19 respects at least, be wholly mistaken. They are anchored in something which cannot be d ...
20 music, philosophy, and modernity subjective responses in reductive and impoverishing ways becomes very important. Coping with ...
form, feeling, metaphysics, and music 21 the weight of an object. The behaviourist and the believer in the radi- cally private s ...
22 music, philosophy, and modernity inseparable from its yellowness’ (Kivy 2002 : 33 ), as well as to a billiard ball possessing ...
form, feeling, metaphysics, and music 23 ‘objective’ aspects. In trying to get away from an invalid subjectivism, Kivy, though, ...
24 music, philosophy, and modernity music ‘arouses’ emotions.^6 It seems obvious to me that there is no gen- eral answer to this ...
«
1
2
3
4
5
6
7
8
9
10
»
Free download pdf