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This collection of essays from Peter Kivy span a period of some thirty years and focus on a richly diverse set of issues providing an enjoyable and insightful introduction to the philosophy of art and music.
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This collection of essays from Peter Kivy span a period of some thirty years and focus on a richly diverse set of issues providing an enjoyable and insightful introduction to the philosophy of art and music.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 384
- Erscheinungstermin: 22. Dezember 2007
- Englisch
- Abmessung: 235mm x 157mm x 27mm
- Gewicht: 775g
- ISBN-13: 9780521434621
- ISBN-10: 0521434629
- Artikelnr.: 23509507
- Verlag: Cambridge University Press
- Seitenzahl: 384
- Erscheinungstermin: 22. Dezember 2007
- Englisch
- Abmessung: 235mm x 157mm x 27mm
- Gewicht: 775g
- ISBN-13: 9780521434621
- ISBN-10: 0521434629
- Artikelnr.: 23509507
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.
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?
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?
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?