Lewis Eugene Rowell - Thinking About Music: An Introduction to the Philosophy of Music
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Thinking About Music: An Introduction to the Philosophy of Music
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Thinking About Music : An Introduction to the Philosophy of Music
author
:
Rowell, Lewis Eugene.
publisher
:
University of Massachusetts Press
isbn10 | asin
:
0870234617
print isbn13
:
9780870234613
ebook isbn13
:
9780585168272
language
:
English
subject
Music--Philosophy and aesthetics.
publication date
:
1984
lcc
:
ML3800.R63 1983eb
ddc
:
780/.1
subject
:
Music--Philosophy and aesthetics.
Page iii
Thinking About Music
An Introduction to the Philosophy of Music
Lewis Rowell
The University of Massachusetts Press Amherst
Page iv
Copyright 1983 by The University of Massachusetts Press All rights reserved First paperback edition, 1984
Printed in the United States of America Acknowledgments for permission to reprint material under copyright appear on the last printed page of this book.
Library of Congress Cataloging in Publication Data Rowell, Lewis Eugene, 1933 Thinking about music. Bibliography: p. Includes index. 1. MusicPhilosophy and aesthetics. I. Title. ML3800.R63 1983 780'.1 82-21979 ISBN 0-87023-461-7
Page v
For Unni
Page vii
Contents
Preface
ix
1 Introduction: terms and themes
1
2 Meditations on a menuet
9
3 Music as art and artifact
20
4 Dionysus and Apollo
37
5 The mythos of music
57
6 The European tradition to 1800
83
7 The Romantic synthesis
116
8 Perception
129
9 Values
150
10 Comparative aesthetics: India and Japan
190
11 Clotho and Atropos
211
Notes
251
Bibliography
265
Index
273
Page ix
Preface
This book is for readers who are insatiably curious about music"students of music" in the broadest sense of the word. In this category I include those whose musical concerns are more humanistic than technical, as well as those preparing for careers in music. Thinking about Music is not specifically addressed to musicologists or philosophers, although I would hope that both may find something of value herein. My only recommendation is that the reader be armed with as diverse a set of musical experiences as possible, whether acquired through a lifetime of concert going, a record collection, amateur performance, or professional training.
In a library system of classification, Thinking about Music is apt to be filed under the heading "MusicAesthetics, history and problems of," and that is a fair description. In the ancient tradition of philosophical literature, it might be termed an exhortation or an isagogenot an enchiridion. I do not outline a philosophy, an aesthetic, but rather a way toward such a philosophy. Personal opinions can readily be detected here and there, but I have studiously avoided any attempt to persuade readers to share them. And I regret to say that I have not yet made up my mind on an alarming number of major issues. Answers may come in time, but my immediate concern is for the questions.
The expository sections are quite brief, and only rarely are they accompanied by a full range of arguments. My aim has been to construct a systematic framework of thought to guide the reader's personal inquiry. The approach is often taxonomic, revealing my preference for understanding complex ideas by viewing them as clusters,
Page x
intellectual tapestries to be unraveled into their component strands. The lists that result are offered as an agenda for reflection, to be tested by readers against their own attitudes, beliefs, experiences, and values. I hope not for indulgence but for vigorous debate, and I shall be intensely disappointed if any reader fails to find some point on which we may agree to disagree.
Thinking about Music was conceived as a textbook, and I still think of it as suchperhaps in the sense that most such expository works are texts, generally for courses that either do not exist or are so few in number that they are overlooked by the commercial textbook market. I use it as a text in an undergraduate course ("Music and Ideas") at Indiana University, and it may prove useful in other similar courses.
The format requires little explanation. Three preliminary chapters set forth the field of inquiry and prepare for the set of historical chapters (4-7). After a pair of chapters devoted to various aesthetic "problems"perception, detachment, meaning, values, et al.the final two chapters present important alternatives to the traditional attitudes, beliefs, and values that inform the standard Western concert repertoire. Most of the book is indeed ethnocentric in that it assumes the values of Western civilization, but (I hope) neither deceptively nor offensively so.
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