In order to promote new ways of thinking about musical meaning, this volume brings together scholars in music theory, musicology, and the philosophy of music, disciplines generally treated as separate and distinct. This interdisciplinary collaboration, while respecting differences in perspective, identifies and elaborates shared concerns. This volume focuses on the many and various kinds of meaning in music. Do musical meanings exist exclusively in internal, formal musical relations or might they also be found in the relationship between music and other areas of experience, such as action, emotion, ideas, and values? Also discussed is the vexed question why people listen to and apparently enjoy music which expresses unpleasant emotions, such as melancholy or despair. Among the particular pieces the writers discuss are Mahler's Ninth Symphony, Shostakovich's Tenth Symphony, and Schubert's last sonata. More broadly, they consider the relation of musical meaning and interpretation to language, storytelling, drama, imagination, metaphor, and emotion.

"Altogether it is a book that should be required reading for any student of music, be he composer, performer, or theorist. It clears the air of many confused notions . . . and lays the groundwork for exhaustive study of the basic problem of music theory and aesthetics, the relationship between pattern and meaning."—David Kraehenbuehl, Journal of Music Theory "This is the best study of its kind to have come to the attention of this reviewer."—Jules Wolffers, The Christian Science Monitor "It is not too much to say that his approach provides a basis for the meaningful discussion of emotion and meaning in all art."—David P. McAllester, American Anthropologist "A book which should be read by all who want deeper insights into music listening, performing, and composing."—Marcus G. Raskin, Chicago Review

Ranging widely over classical music, jazz, popular music, and film and television music, Musical Meaning uncovers the historical importance of asking about meaning in the lived experience of musical works, styles, and performances. Lawrence Kramer has been a pivotal figure in the development of new resources for understanding music. In this accessible and eloquently written book, he argues boldly that humanistic, not just technical, meaning is a basic force in music history and an indispensable factor in how, where, and when music is heard. He demonstrates that thinking about music can become a vital means of thinking about general questions of meaning, subjectivity, and value. First published in 2001, Musical Meaning anticipates many of the musicological topics of today, including race, performance, embodiment, and media. In addition, Kramer explores music itself as a source of understanding via his composition Revenants for piano, revised for this edition and available on the UC Press website.

Approaches to Meaning in Music presents a survey of the problems and issues inherent in pursuing meaning and signification in music, and attempts to rectify the conundrums that have plagued philosophers, artists, and theorists since the time of Pythagoras. This collection brings together essays that reflect a variety of diverse perspectives on approaches to musical meaning. Established music theorists and musicologists cover topics including musical aspect and temporality, collage, borrowing and association, musical symbols and creative mythopoesis, the articulation of silence, the mutual interaction of cultural and music-artistic phenomena, and the analysis of gesture. Contributors are Byron Almén, J. Peter Burkholder, Nicholas Cook, Robert S. Hatten, Patrick McCreless, Jann Pasler, and Edward Pearsall.

For virtually all of our lives, we are surrounded by music. From lullabies to radio to the praises sung in houses of worship, we encounter music at home and in the street, during work and in our leisure time, and not infrequently at birth and death. But what is music, and what does it mean to humans? How do we process it, and how do we create it? Musician Leo Samama discusses these and many other questions while shaping a vibrant picture of music's importance in human lives both past and present. What is remarkable is that music is recognised almost universally as a type of language that we can use to wordlessly communicate. We can hardly shut ourselves off from music, and considering its primal role in our lives, it comes as no surprise that few would ever want to. Able to transverse borders and appeal to the most disparate of individuals, music is both a tool and a gift, and as Samama shows, a unifying thread running throughout the cultural history of mankind.

Language and the interpretation of music / Leo Treitler -- Listening with imagination: is music representational? / Kendall Walton -- Musical idiosyncrasy and perspectival listening / Kathleen Marie Higgins -- Music as drama / Fred Everett Maus -- Action and agency in Mahler's Ninth symphony, second movement / Anthony Newcomb -- Shostakovich's Tenth symphony and the musical expression of cognitively complex emotions / Gregory Karl and Jenefer Robinson -- What Schubert's last sonata might hold / Charles Fisk -- Two types of metaphoric transference / Marion A. Gluck -- Music and negative emotion / Jerrold Levinson -- Why listen to sad music if it makes one feel sad? / Stephen Davies.

By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer’s 25-year project in the analysis and interpretation of music in film.