The Fine Art of Repetition: Essays in the Philosophy of Music
Cambridge University Press, 26 feb. 1993 - 373 páginas
Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music.
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Music and the liberal education
WORK AND PERFORMANCE
Platonism in music A kind of defense
Platonism in music Another kind of defense
Live performances and dead composers On the ethics of musical interpretation
On the concept of the historically authentic performance
THE WORLD OF OPERA
Child Mozart as an aesthetic symbol
Charles Darwin on music
MUSIC AND EMOTION
Mattheson as philosopher of art
Kant and the Affektenlehre What he said and what I wish he had said
Something Ive always wanted to know about Hanslick
What was Hanslick denying?
A new music criticism?
Opera talk A philosophical phantasie
How did Mozart do it? Living conditions in the world of opera
How did Mozart do it? Replies to some critics
MUSIC AND THE HISTORY OF IDEAS
Mozart and monotheism An essay in spurious aesthetics
The fine art of repetition
Is music an art?
Otras ediciones - Ver todo
aesthetic answer appears argue argument arousal artist authentic Bach beautiful become Beethoven's begin believe better century Chapter character claim clear completely composer composition concept conclusion confidence trick course criticism Darwin dead denying discovery effect emotions essay essential example experience expressive fact feeling follows further give given Hanslick head hear heard historical human idea imagine important intentions interest interpretation intuitions Kant kind language least listener literary living matter Mattheson means merely mind movement moving Mozart nature notion object obligation obvious opera original particular passage performance perhaps philosophical piece Platonism play possess possible practice present Press properties pure question reason repeat represent representation score seems sense simply singing song sound structure suggest suppose surely Symphony talk theme theory things third thought tion true University writes
Authenticities: Philosophical Reflections on Musical Performance
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