The 30 lively and diverse essays brought together in this volume--all drawn from the journal PERSPECTIVE OF NEW MUSIC--suggest possible answers to the age-old question: Why does music affect us so strongly? The writers include many of the most prominent names in both modern music and aesthetic theory, including Pierre Boulez, John Cage, Iannis Xenakis, Eric Gans, Michel Foucault, and Delmore Schwartz.

Aesthetics of Music: Musicological Approaches is an anthology of fourteen essays, each addressing a single key concept or pair of terms in the aesthetics of music, collectively serving as an authoritative work on musical aesthetics that remains as close to 'the music' as possible. Each essay includes musical examples from works in the 18th, 19th, and into the 20th century. Topics have been selected from amongst widely recognised central issues in musical aesthetics, as well as those that have been somewhat neglected, to create a collection that covers a distinctive range of ideas. All essays cover historical origins, sources, and developments of the chosen idea, survey important musicological approaches, and offer new critical angles or musical case studies in interpretation.

Aesthetics of Music: Musicological Approaches is an anthology of fourteen essays, each addressing a single key concept or pair of terms in the aesthetics of music, collectively serving as an authoritative work on musical aesthetics that remains as close to 'the music' as possible. Each essay includes musical examples from works in the 18th, 19th, and into the 20th century. Topics have been selected from amongst widely recognised central issues in musical aesthetics, as well as those that have been somewhat neglected, to create a collection that covers a distinctive range of ideas. All essays cover historical origins, sources, and developments of the chosen idea, survey important musicological approaches, and offer new critical angles or musical case studies in interpretation.

Edward A. Lippman?s writings on musical aesthetics comprise a wide variety of areas and employ both systematic and historical approaches, reflecting throughout his unrivaled knowledge of the philosophical literature on music and his deep understanding of the musical repertory. These essays span a broad range of subjects, from the ancients? sense of what music encompasses to the experience of rhythm in Anton Webern?s work. ø Lippman surveys the physical and physiological factors that condition musical perception, and he explores the effect of sung text in vocal music. In the more purely philosophical realm, he argues persuasively that music speaks in its own terms, not in any formalistic sense but through the symbolic meanings it conveys. ø The historically focused essays include investigations of the aesthetic thinking of Wagner and Schumann, an endeavor that leads Lippman to probe the sources and drives behind musical creativity. Elsewhere he explores the development of particular musical styles. The Philosophy and Aesthetics of Music draws upon both philosophy and musicology in demonstrating how the interpretation of music extends far beyond the scope of conventional theory and analysis.

Reissued for 2003! This comprehensive anthology offers a vast collection of classic and contemporary readings in aesthetics from both western and non-western sources. It is organized topically into four parts: Art and the Nature of Beauty, Interpreting and Evaluating Art, Challenges to the Tradition and Beyond the West.

This book will collect Adornian contributions on different trends, genres and artists belonging to the broad and complex and in-itself-articulated field of popular music. On the occasion of the 50th anniversary of Adorno's death, the book will represent an important contribution for the international community of Adorno scholars and, additionally, for scholars of both philosophy and musicology in general, in order to assess and celebrate the persistent actuality of Adorno's contribution to the understanding of popular music in the context of the dynamics and processes of the culture industry, but also to critically rethink some of the main concepts and themes of his influential philosophy of music and thus to develop it at a further level, also intersecting it with other philosophical perspectives or adapting it when necessary to the partially changed conditions of popular music in comparison to his epoch.

Embodied experience and sensorial understandings in Western music The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics—the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused and unreliable and instead prioritised a cognitive or objective approach. Written by authors from the fields of philosophy, composition, performance, and artistic practice, Sensorial Aesthetics in Music Practices repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics. Contributors: Kathleen Coessens (Koninklijk Conservatorium Brussel, Orpheus Institute), Tim Ingold (University of Aberdeen), Michaël Levinas (Conservatoire National Supérieur de Musique de Paris), Fabien Lévy (Hochschule für Musik Detmold), Lasse Thoresen (Norwegian Academy of Music), Vanessa Tomlinson (Queensland Conservatorium of Music), Salomé Voegelin (University of the Arts London)