Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here for the first time, each one unique and accessible, making this collection a delight both to followers of Kivy's work and to first-time readers.
Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here for the first time, each one unique and accessible, making this collection a delight both to followers of Kivy's work and to first-time readers.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Peter Kivy is Board of Governors Professor of Philosophy Emeritus, at Rutgers University. He is the author of numerous books and articles on aesthetics and philosophy of art, including De Gustibus: Arguing About Taste and Why We Do It (OUP, 2015), Music Alone: Philosophical Reflections on the Purely Musical Experience (Cornell UP, 2009), The Blackwell Guide to Aesthetics (2004) and Antithetical Arts: On the Ancient Quarrel Between Literature and Music (OUP, 2009). Several of his books have been translated into Chinese, Italian, Korean, Portuguese, and Spanish. He is a former Guggenheim Fellow and a past President of the American Society for Aesthetics.
Inhaltsangabe
* I Some History (and its Aftermath) * 1: Note-for-Note: Work, Performance, and Early Notation * 2: Music, Will, and Representation * 3: On Hanslick's Inconsistency * 4: Making the Codes and Breaking the Codes: Two Revolutions in Twentieth-Century Music * II Music and the Emotions (Yet Again) * 5: Auditor's Emotions: Contention, Concession, Compromise * 6: Experiencing the Musical Emotions * 7: The Arousal Theory of Musical Expression: Rethinking the Unthinkable * III More About Music * 8: Absolute Music and the New Musicology * 9: Movements and 'Movements' * 10: Music in Memory and Music in the Moment * 11: How to Forge a Musical Work * Bibliography, Index
* I Some History (and its Aftermath) * 1: Note-for-Note: Work, Performance, and Early Notation * 2: Music, Will, and Representation * 3: On Hanslick's Inconsistency * 4: Making the Codes and Breaking the Codes: Two Revolutions in Twentieth-Century Music * II Music and the Emotions (Yet Again) * 5: Auditor's Emotions: Contention, Concession, Compromise * 6: Experiencing the Musical Emotions * 7: The Arousal Theory of Musical Expression: Rethinking the Unthinkable * III More About Music * 8: Absolute Music and the New Musicology * 9: Movements and 'Movements' * 10: Music in Memory and Music in the Moment * 11: How to Forge a Musical Work * Bibliography, Index
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