MUSIC, PHILOSOPHY, AND MODERNITY
form, feeling, metaphysics, and music 45 task – there is a problem in adopting current philosophical assumptions in the name of ...
2 Music, language, and the origins of modernity Language and modernity The contrast between two notional kinds of ‘metaphysics’ ...
music, language, and origins 47 would not capture what is revealed by metaphysics 2. What is intended with the idea of metaphysi ...
48 music, philosophy, and modernity Looking at how music plays a role in these responses can suggest ways of examining the limit ...
music, language, and origins 49 this is Kant’s question about what makes scientific knowledge itself possible, which he seeks to ...
50 music, philosophy, and modernity form of social action, a manifestation ofGeist?^1 How would one make a decision as to which ...
music, language, and origins 51 a clear demarcation between the two is likely to obscure as much as it reveals. Language as repr ...
52 music, philosophy, and modernity brought into a system, by Rhythmos, the temporal order of music... and by Logos, language as ...
music, language, and origins 53 to rhetoric, which is first made explicit by Johann Mattheson ( 1681 – 1764 ), presupposes a tra ...
54 music, philosophy, and modernity representational equivalent is being employed when mathematics is seen as the basis of music ...
music, language, and origins 55 his attempt both to give an account of the origin of language and to describe what he sees as fu ...
56 music, philosophy, and modernity Music functions in these theories, then, as the bridge between the non-semantic and the sema ...
music, language, and origins 57 so, he thinks, by a process of erosion, in which sensuous immediacy is lost as the determinacy o ...
58 music, philosophy, and modernity origins as a move away from the musical, so that ‘language becomes more exact, more clear, b ...
music, language, and origins 59 of modernity. Underlying both positions are metaphysical assumptions about nature, human and non ...
60 music, philosophy, and modernity Rorty never mentions music in discussing these issues, and a dimen- sion may therefore be la ...
music, language, and origins 61 of picturing. Rorty would, in contrast, regard music as just another communicative practice, alb ...
62 music, philosophy, and modernity was not immediately what it became and is’ (Herder 1985 : 445 ).^6 In order to understand th ...
music, language, and origins 63 language to understand a part of language, the understanding of words got underway in the first ...
64 music, philosophy, and modernity high accents and their ears are delighted by singing’ (ibid.: 567 ), the oldest languages do ...
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