Peter Kivy is the author of many books on the philosophy of art and, in particular, the aesthetics of music. This collection of essays spans a period of some 30 years and focuses on a richly diverse set of issues--ranging from the biological origin of music to the very nature of music itself. Kivy uses no musical notation, so no technical knowledge is required to appreciate his work.
Peter Kivy is the author of many books on the philosophy of art and, in particular, the aesthetics of music. This collection of essays spans a period of some 30 years and focuses on a richly diverse set of issues--ranging from the biological origin of music to the very nature of music itself. Kivy uses no musical notation, so no technical knowledge is required to appreciate his work.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
Preface Introduction PART I: I. Mattheson as philosopher of art II. Mainwaring's Handel: its relation to English aesthetics III. Charles Burney, music critic IV. Kant and the Affektenlehre: what he said, and what I wish he had said V. Mozart and monotheism: an essay in spurious aesthetics VI. Child Mozart as an aesthetic symbol VII. Something I've always wanted to know about Hanslick VIII. What was Hanslick denying? IX. Charles Darwin on music X. Herbert Spencer and a musical dispute PART II: XI. The fine art of repetition XII. Platonism in music: a kind of defense XIII. Platonism in music: another kind of defense XIV. Orchestrating platonism XV. Opera talk: a philosophical 'phantasie' XVI. How did Mozart do it?: living conditions in the world of opera XVII. How did Mozart do it?: Replies to my critics XVIII. Live performances and dead composers: on the ethics of musical interpretation XIX. On the concept of the 'historically authentic' performance XX. Paul Robinson's Opera and Ideas XXI. From ideology to music: Leonard Meyer's theory of style change XXII. Music and liberal education XXIII. A new music criticism? XXIV. Is music an art?
Preface Introduction PART I: I. Mattheson as philosopher of art II. Mainwaring's Handel: its relation to English aesthetics III. Charles Burney, music critic IV. Kant and the Affektenlehre: what he said, and what I wish he had said V. Mozart and monotheism: an essay in spurious aesthetics VI. Child Mozart as an aesthetic symbol VII. Something I've always wanted to know about Hanslick VIII. What was Hanslick denying? IX. Charles Darwin on music X. Herbert Spencer and a musical dispute PART II: XI. The fine art of repetition XII. Platonism in music: a kind of defense XIII. Platonism in music: another kind of defense XIV. Orchestrating platonism XV. Opera talk: a philosophical 'phantasie' XVI. How did Mozart do it?: living conditions in the world of opera XVII. How did Mozart do it?: Replies to my critics XVIII. Live performances and dead composers: on the ethics of musical interpretation XIX. On the concept of the 'historically authentic' performance XX. Paul Robinson's Opera and Ideas XXI. From ideology to music: Leonard Meyer's theory of style change XXII. Music and liberal education XXIII. A new music criticism? XXIV. Is music an art?
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