The Oxford Handbook of Western Music and Philosophy 1st edition by Tomás Mcauley 0197546260 9780197546260

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ISBN-10 :  0197546260 

ISBN-13 :  9780197546260

Author :  Tomás Mcauley 

Whether regarded as a perplexing object, a morally captivating force, an ineffable entity beyond language, or an inescapably embodied human practice, music has captured philosophically inclined minds since time immemorial. In turn, musicians of all stripes have called on philosophy as a source of inspiration and encouragement, and scholars of music through the ages have turned to philosophy for insight into music and into the worlds that sustain it. In this Handbook, contributors build on this legacy to conceptualize the rich interactions of Western music and philosophy as a series of meeting points between two vital spheres of human activity. They draw together key debates at the intersection of music studies and philosophy, offering a field-defining overview while also forging new paths. Chapters cover a wide range of musics and philosophies, including concert, popular, jazz, and electronic musics, and both analytic and continental philosophy.

The Oxford Handbook of Western Music and Philosophy 1st Table of contents:

Part I Mapping the Field
1. Historical Musicology and Philosophy
Whose Musicology? Which Philosophy?
Listening to Music
2. Music Theory and Philosophy
Schopenhauer’s Music Theory
Music as a Medium of Philosophy
Ernst Kurth as Schopenhauerian Philosopher
Reciprocities
3. Ethnomusicology and Philosophy
A Brief History of the Field
Ethnomusicology and Its Future
4. Analytic Philosophy of Music
Preliminary Concerns: What is “Analytic” Philosophy of Music?
Contemporary Analytic Philosophy of Music—A Brief History
Musical Expression
Musical Works and Performances
Engagement with Other Philosophical Traditions and Other Studies of Music
5. Continental Philosophy of Music
What is Continental Philosophy?
Debates in (and beyond) Continental Philosophy
The Future of Continental Philosophy
Part II History
6. Ancient Greece
Archaic Greece (c.750–500 bce): The Age of Epic and Lyric Song
The Classical Period (c.500–300 bce): From Lasus to Aristotle
Aristotle and Musical Aesthetics
Rhythm in Musical Texts
Melody, Voice, Instruments
Conclusions
7. The Middle Ages
Unsound Studies: The Medieval Ontology of Music
Ethics
Medieval Philosophy, Modern Musicology
Conclusion: Modern Problems with Medieval Ideas
8. The Early Modern Period
Ontology
Metaphysics
Physics
Rhetoric
Ethics
9. The Enlightenment
Two Traditions of Scholarship
Two Traditions of Musical Thought
Music as Object of Investigation
Music as Inspiration
Music as Corroboration
Rousseau and the French High Enlightenment
Kant and the Late Enlightenment
Conclusion: The Enlightenment
10. The Nineteenth Century
The Immediate Medium
Sound and Novelty: Giacomo Leopardi
Sensuality and Desire: Søren Kierkegaard
Word and Gesture: Friedrich Nietzsche
Beyond Form and Content
11. The Twentieth Century
Introduction: Towards a Global History of Twentieth-Century Music and Philosophy
A Twentieth-Century Encounter: Phenomenology of Music as a New Science
Phenomenology Worldwide
Challenging Husserl: The Crisis
Music on the Continental–Analytic Divide
The End of an Era
Part III Philosophical Traditions and Practices
12. Epistemologies
Introduction: Musical Epistemologies
Western Ideas of Musical Epistemology
Epistemologies in Culture
Music, Science, and Naturalistic Epistemologies
Conclusion: Music as Communicative, Music as Biocultural
13. Ethics
Introduction: Music, Ethics, Musical Ethics?
Is Music Ethical?
Autonomy and Morality
Conceptual Challenges in Music and Ethics
Towards a Consensual Model of Musical Ethics
A Consensual Musical Ethics of “Hide and Seek”
Imagining the Human: Implications of Musical Ethics
14. Phenomenology
From a Phenomenology of Music to a Phenomenology of Musicianship
A Topography of Musical Absorption
Musical Self-Awareness: Between Reflection and Coping
Agency and Losing Oneself in Music
Conclusions
15. Ontology
Introduction
A Brief Look at Metaphysics and Ontology since Carnap and Quine
Musical Ontology
Conclusion
16. Theology
Trajectories and Disjunctions
Scriptural Imagination and Future Possibilities
17. Philosophy of Language
Introduction
Different Accounts of Meaning
Reference and Representation
From Expression to Expressiveness
Grammar
Concluding Remarks
18. Hermeneutics
Musical Hermeneutics: Where the Wild Things Are
Meaning and Appearance
Locating Meaning
Paraphrasing with Care
Technological Interlude
Heuristic Finale
19. Deconstruction
The Deconstruction of Music
The Deconstruction of Music or the Music of Deconstruction
The Music of Deconstruction or the Music of Deconstruction
The Deconstruction of Music and the Music of Deconstruction
20. Posthumanism
Posthumanist Lineages
The (Musical) Human as Alien and Emergent
Virtuality, Abstract Machines, and Life
Culture, Technology, and Semiotic Virtuality
The Place of Music
Posthumanism and Prehumanism
Part IV Musical Traditions and Practices
21. Improvisation
Introduction
On the Way to Kant’s Notion of the Artistic Genius
Rethinking the Status of the Improviser
Rethinking Improvisation
22. Composition
23. Performance
Introduction
Performance
Musical Performance
Musical Performance as Art
Performance of a Musical Work
Closing Reflections
24. Listening
Listening as a Multisensorial Experience
From Attentive to Distracted Listening
Music Co-constitutes the Listening Subject
From Distracted to Attentive Listening
The Listening Body
Immersion and Aesthetic Listening
(No) Conclusion
25. Vocal Music
Congregational Singing in Nineteenth-Century England
Congregational Singing and Distributed Subjectivity
Conclusion
26. Electronic Music
First-Generation Electronic Music and Its Distinctions
The Futures of Electronic Music: Listening, History, and Genre
Conclusion
27. Popular Music
The Core Proposal
Quantitative and Descriptive Popularity
Popularity as a Dispositional Property
But Is It Art?
Doctrines of Functionality
Looking Forward
28. Blacksound
Constructing Blacksound in the Critical Study of Race and Popular Music
Situating Blacksound
Blacksound and Intellectual (Performance) Property
Marketing Blacksound in Making Popular Entertainment
Conclusion: Analysing Blacksound
29. Jazz
Rhythmic Character
Harmonic Language
Melodic Invention
Pathfinding Improvisation
Philosophical Aspects of Improvisation
Conclusion
30. Opera
The Rise and Fall of Operatic Heroes and Heroines
Rousseau and Diderot on the Expression of Emotion
Wagner Between Schopenhauer and Nietzsche
Opera and Philosophy in Contemporary Scholarship
Part V Key Concepts
31. Absolute Music
Introduction
Contestations and Concentric Circles
Mystification, Demystification, Remystification
Faith and Scepticism
Strategies
Conclusion
32. Consciousness
The View from the Multidisciplinary Playground
The View from the Upper Circle
The View from Science
Where Is Consciousness?
The View from Ontology
Gathering Around the Void
33. Evolution
Some Central Questions
Music and Evolution: African Origins
Physiological Preconditions for Musical Vocal Behaviours
Functions Music Might Have Served for Our Ancestors
Music’s Evolutionary Status
Concluding Remarks
34. Expression
Enlightenment Theories
Romantic Theories
Since 1920
Conclusion
35. Gender
Musicological Examinations of Gender
Conservative and Radical Philosophical Views on Gender Studies
Beethoven, Revolution, and Gendered Readings
Conclusion
36. The Ineffable (and Beyond)
Ineffability and Improvisation
The Part Played by Technicity
The Long History of the Ineffable
The Ineffable—Beyond Western Art Music
37. Meaning and Autonomy
Autonomy, Non-Conceptuality, and the Problem of Meaning
Meaning, Sense, and Reference
Interpretation
Conclusions
38. Meaning and Scepticism
Introduction
Eduard Hanslick
Meaning, Emotion, and Value
Can We Refute Hanslickian Scepticism?
The Beethoven G Major Concerto and the Orpheus Legend
Where Have We Ended Up?
39. Mercy
Introduction: Mercy in Music
Mercy in the Western Philosophical Tradition
Top-Down Mercy: The Requiem Mass
Senecan Mercy in Mozart: The Countess Says “Yes”
Seeing the Heart: Tito, Sesto, and Vitellia
Conclusion
40. Nature
Sound and Music Without Nature
The Musical Representation as Strong Nature
A Million Years of Weak Nature
Hegel: Nature and Music’s Weak Force
41. Making Sense
Philosophy of Music
Wittgenstein: Music and “Logical Form”
Music and Language
Epistemology and Rhythm
Music as a “Manner/Melody of Human Existence”
Music and the End of Philosophy
The Unanswered Question?
42. Society
Plato
Aristotle
Rousseau
Du Bois
Adorno and Attali
Global Inconsistencies
43. Space
Compositional Spaces
Performance Spaces
Spaces Within Musical Performances
Pitch Space
Music, Space, and Musical Space
44. Time
The Problem of Succession and Duration (Event)
Trying Out Duration
Projective Complexity: The Beginning of Beethoven’s Op. 132
Closing Thoughts
Part VI Collisions and Collaborations
45. Authenticity
Work Authenticity as Score Compliance Authenticity
Score-Compliance Authenticity as Historical Authenticity
Score-Compliance Authenticity as a Performance Value
Another Kind of Authenticity
46. Beauty
A Philosophical View (Nick Zangwill)
A Musicological View (Stephen Hinton)
A Dialogue
Closing Reflection: Philosophical and Musicological Points of View
47. Emotion
Experiencing Expressive Music
Expressive Experiences of Music
Concluding Thoughts
48. Enchantment
Enchanting the World
The Shape of Musical Time
On the Threshold
Sounds of Enchantment
Constructing Chopin’s World
Re-hearing Enchantment
Music’s Siren Song
49. Expectations
Expectation in Music: A Survey
Musical Expectations: Conscious or Unconscious?
Musical Expectations: Structure and Content
Four Modes of Musical Engagement
Conclusion
50. Galant Music
Translator’s Introduction: Music’s Tact
Galant Music
Afterword
51a. Perception
Relational Properties, First Kind: Syntactic Properties and Pitch Relations
Relational Properties, Second Kind: Musical Features Heard Metaphorically-As
Relational Properties, Third Kind: The Perception of Music as Action
Aesthetic Significance of the Perception of First Three Kinds of Relational Properties
Relational Properties, Fourth Kind: The Relations of Live Performance
Concluding Reflections
51b. Response to Christopher Peacocke: Perception
Topics and Reference
Performance and Agency
Performance and the Social
We
Conclusion
52a. Subjectivities
52b. Response to Susan McClary: Subjectivities

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