This volume presents a new collection of essays on music by Jerrold Levinson, one of the most prominent philosophers of art today. The essays are wide-ranging and represent some of the most stimulating work being done within analytic aesthetics. Three of the essays are previously unpublished, and four of them focus on music in the jazz tradition.
The essay advocates a theory of the musical work as a “social object” which is based on a trace informed by a normative value. Such a normativity is explored in relation to three ways of fixing the trace: orality, notation and phonography.
Mark Porter examines the relationship between individuals’ musical lives away from a Contemporary Worship Music environment and their diverse experiences of music within it, presenting important insights into the complex and sometimes contradictory relationships between congregants’ musical lives within and outside of religious worship.
In The Oxford Handbook of Philosophy in Music Education, editors Wayne D. Bowman and Ana Lucia Frega have drawn together a variety of philosophical perspectives from the profession's most exciting scholars from all over the world. Rather than relegating philosophical inquiry to moot questions and abstract situations, the contributors to this volume address everyday concerns faced by music educators everywhere. Emphasizing clarity, fairness, rigour, and utility above all, The Oxford Handbook of Philosophy in Music Education will challenge music educators all over the world to make their own decisions and ultimately contribute to the conversation themselves.
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.
Shared Musical Lives makes the case for the epistemological and ethical significance of musical experience. Music can be a source of self-knowledge and self-expression, and hence reveal important dimensions of the self to others. This knowledge--of both self and of others--has a moral force as well. Shared musical experience can transform and establish new modes of being with others, cultivate virtues, and expand the moral imagination. The term sonification (which means translating data into non-verbal audible tones) provides an organizing principle for the arguments in the book. Transposing the concept into a philosophical key, this book explores two forms of sonification: first, the process by which musical experience reveals dimensions of the self and relationships with others; and second, philosophical sonification, or the critical examination of philosophical concepts, arguments, and theories in view of what musical experience reveals. These two kinds of sonification are discussed specifically in the context of disability. In this book, author Licia Carlson brings the musical lives of people with cognitive and intellectual disabilities into the foreground in order to challenge and broaden existing conceptions of disability and music and provide new ways of thinking about the philosophies of music and disability.
Unfreezing Music Education argues that discussing the conflicting meanings of music should occupy a more central role in formal music education and music teacher preparation programs than is currently the case. Drawing on the critical theory of the Frankfurt School, the author seeks to take a dialectical approach to musical meaning, rooted in critical formalism, that avoids the pitfalls of both traditional aesthetic arguments and radical subjectivity. This book makes the case for helping students understand that the meaning of musical forms is socially constructed through a process of reification, and argues that encouraging greater awareness of the processes through which music’s fluid meanings become hidden will help students to think more critically about music. Connecting this philosophical argument with concrete, practical challenges faced by students and educators, this study will be of interest to researchers across music education and philosophy, as well as post-secondary music educators and all others interested in aesthetic philosophy, critical theory, cultural studies, or the sociology of music and music education.
This volume of essays references traditional and contemporary thought on theory and practice in music education for all age groups, from the very young to the elderly. The material spans a broad range of subject areas from history and philosophy to art and music, and addresses issues such as curriculum, pedagogy, assessment and evaluation, as well as current issues in technology and performance standards. Written by leading researchers and educators from diverse countries and cultures, this selection of previously published articles, research studies and book chapters is representative of the most frequently discussed and debated topics in the profession. This volume, which documents the importance of lifelong learning, is an indispensable reference work for specialists in the field of music education.
This book explores how the immediate experience of musical sound relates to processes of meaning construction and discursive mediation. A unique multi-authored work that both draws on and contributes to current debates in ethnomusicology, musicology, psychology, and cognitive science, it presents a novel and productive view of how cultural practice relates to the experience and meaning of musical performance.
"The Church has always sought a dynamic balance between the expressive and the formative attributes of liturgical music. (This book) traces the development of the Church's music through the ages and is a chronicle of the music we have used in the earthly Liturgy of the Church. .... " [from back cover]