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Antithetical arts : on the ancient quarrel between literature and music / Peter Kivy

Av:

Kivy, Peter

Utgivning: Oxford : Clarendon Press ; Oxford University Press, 2009Beskrivning: ix, 275 sISBN:

978-0-19-956280-0

Ämne:

DDK-klassifikation:

781.17 22 (machine generated)

SAB-klassifikation:

Ij:df

Innehåll:

PART I: THE FOUNDING OF FORMALISM. 1. First the Music, and then the Words. 2. Designs a la Grecque. 3. Body and Soul. PART II: THE FORTUNES OF FORMALISM. 4. Mood and Music. 5. Persona Non Grata. 6. Action and Agency. 7. Shostakovich's Secret? PART III: THE FATE OF FORMALISM. 8. The Failure of Formalism and the Failure of its Foes. 9. Attention, Ritual, and the Additive Strategy. 10. Musical Morality. 11. Empty Pleasure to the Ear

Sammanfattning: A defence of musical formalism against those who would put literary interpretations on the absolute music canon. In Part I, the historical origins of both the literary interpretation of absolute music and musical formalism are laid out. In Part II, specific attempts to put literary interpretations on various works of the absolute music canon are examined and criticized. Finally, in Part III, the question is raised as to what the human significance of absolute music is, if it does not lie in its representational or narrative content. The answer is that, as yet, philosophy has no answer, and that the question should be considered an important one for philosophers of art to consider, and to try to answer without appeal to representational or narrative content

Holdings ( 1 )
Title notes ( 2 )

Holdings
Item type	Current library	Call number	Materials specified	Copy number	Status	Date due	Barcode	Item holds
Book	Musik- och teaterbiblioteket Magasin A	B26.129		1	Available		26201814322

Total holds: 0

A defence of musical formalism against those who would put literary interpretations on the absolute music canon. In Part I, the historical origins of both the literary interpretation of absolute music and musical formalism are laid out. In Part II, specific attempts to put literary interpretations on various works of the absolute music canon are examined and criticized. Finally, in Part III, the question is raised as to what the human significance of absolute music is, if it does not lie in its representational or narrative content. The answer is that, as yet, philosophy has no answer, and that the question should be considered an important one for philosophers of art to consider, and to try to answer without appeal to representational or narrative content