A History of Western Philosophy of Music PDF
Preview A History of Western Philosophy of Music
A HISTORY OF WESTERN PHILOSOPHY OF MUSIC This book presents a comprehensive, accessible survey of Western philosophy of music from Pythagoras to the present. Its narrative traces themes and schools through history, in a sequence of five chapters that survey the ancient, medieval, early modern, modern andcontemporaryperiods.Itswide-rangingcoverageincludesmedi- eval Islamic thinkers, Continental and analytic thinkers, and neglected female thinkers such as Vernon Lee (Violet Paget). All aspects of the philosophy of music are discussed, including music andthecosmos,music’svalue,music’srelationtotheotherarts,the problem of opera, the origins of musical genius, music’s emotional impact, the moral effects of music, the ontology of musical works, and the relevance of music’s historical context. The volume will be valuableforstudentsandscholarsinphilosophyandmusicology,and allwhoareinterestedinthewaysinwhichphilosophers throughout history have thought about music. . is Professor of Philosophy at the University of Victoria, British Columbia. His books include Art and Knowledge (), Cultural Appropriation and the Arts (), Critique of Pure Music () and Radically RethinkingCopyright intheArts (). Published online by Cambridge University Press Published online by Cambridge University Press A HISTORY OF WESTERN PHILOSOPHY OF MUSIC JAMES O. YOUNG UniversityofVictoria,BritishColumbia Published online by Cambridge University Press ShaftesburyRoad,Cambridge,UnitedKingdom OneLibertyPlaza,thFloor,NewYork,,USA WilliamstownRoad,PortMelbourne,,Australia –,rdFloor,Plot,SplendorForum,JasolaDistrictCentre,NewDelhi–,India PenangRoad,#–/,VisioncrestCommercial,Singapore CambridgeUniversityPressispartofCambridgeUniversityPress&Assessment, adepartmentoftheUniversityofCambridge. WesharetheUniversity’smissiontocontributetosocietythroughthepursuitof education,learningandresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/ :./ ©JamesO.Young Thispublicationisincopyright.Subjecttostatutoryexceptionandtotheprovisions ofrelevantcollectivelicensingagreements,noreproductionofanypartmaytakeplace withoutthewrittenpermissionofCambridgeUniversityPress&Assessment. Firstpublished PrintedintheUnitedKingdombyTJBooksLimited,PadstowCornwall AcataloguerecordforthispublicationisavailablefromtheBritishLibrary. LibraryofCongressCataloging-in-PublicationData :Young,JamesO.,-author. :Ahistoryofwesternphilosophyofmusic/JamesO.Young. :Cambridge,UnitedKingdom;NewYork,NY:CambridgeUniversityPress,.| Includesbibliographicalreferencesandindex. :(print)|(ebook)| (hardback)|(paperback)|(epub) ::Music–Philosophyandaesthetics–History. :. (print)| (ebook)| .–dc/eng/ LCrecordavailableathttps://lccn.loc.gov/ LCebookrecordavailableathttps://lccn.loc.gov/ ----Hardback CambridgeUniversityPress&Assessmenthasnoresponsibilityforthepersistence oraccuracyofURLsforexternalorthird-partyinternetwebsitesreferredtointhis publicationanddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. Published online by Cambridge University Press For my students, past, present and future Published online by Cambridge University Press With the truth, all given facts harmonise; but with what is false, the truth soon hits a false note. Aristotle I must have my share in the conversation if you are speaking of music. Jane Austen Published online by Cambridge University Press Contents Preface page ix The Ancient World . Introduction . MusicandtheImitativeArts . Music,theCosmosandtheSoul . TheValueofMusicalExperience . TheOriginsofMusicalGenius . Conclusion The Middle Ages . Introduction . TheArtandScienceofMusic . Music,theCosmosandtheSoul . TheValueofMusicalExperience . TheMusician . Conclusion The Early Modern Period: – . Introduction . OriginsofEarlyModernPhilosophyofMusic . MusicandtheFineArts . MusicandtheCosmos . EmotionandMusic . TheDeclineofImitationandEmpiricisminPhilosophyofMusic . TheMoralEffectsofMusic . TheMusician . Conclusion The Modern Period: – . Introduction . MusicandMetaphysics . ContentwithoutMetaphysics . MusicalContent:TheOutliers vii Published online by Cambridge University Press viii Contents . TheOriginsofMusic . Formalism . MusicandMorality . TheOntologyofMusic . Conclusion The Contemporary Period . Introduction . MusicinContext . MusicandEmotion . RepresentationinMusic . TheProblemofOpera . TheValueofMusic . TheOntologyofMusicalWorks . Performance Envoi Bibliography Index Published online by Cambridge University Press Preface I am acutely aware that writing a history of philosophy of music takes a certainamountofchutzpah.Noonecanplausiblyclaimtobeanexpertin allerasofthehistoryofphilosophyofmusic.Thefourandahalfyearsthat I have spent writing this book have taught me that much, at least. Nevertheless, in this book, I offer what appear to be authoritative pro- nouncementsonthefullrangeofthesubject.Nodoubt,expertsinagiven eraofthehistoryofphilosophyofmusicwillfindmyaccountofthaterato bewantingincertainrespects,butIbelievethatsteppingbackandlooking atthebigpicturehasvalue.Ihaveattemptedtotellastoryandtoidentify trends, developments and relationships. A grasp of the big picture can assist in understanding particular periods in the history of philosophy of music and, indeed, provide insight into philosophy of music. My hope is that this book will not be of interest only to philosophers. An understanding of the history of philosophy of music can, I believe, assist listeners in appreciating music. A knowledge of the philosophy of music prevalent in, say, the early eighteenth century, can provide insight intothemusicofthebaroqueperiod.Composerswereoftenwellawareof the philosophy of music of their time, and some even made important contributionstothephilosophyofmusic.Wehaveeveryreasontobelieve that what composers took themselves to be doing in their music was influenced byphilosophy of music. If we want to understand their music, weneedtounderstandtheirphilosophies.Evenmoreimportantly,philos- ophyofmusiccanrevealwhatmusiccanachieveand,onceweknowwhat music can achieve, we know what to listen for in music. Ihaveworked,whereverpossible,fromoriginalsources,andIhavetried to reach my own conclusions about each figure in the history of philoso- phy of music. I have quoted extensively from primary sources in an effort to allow each writer on music to speak for him- or herself. IhaveprofitedfromtheassistanceofmanypeopleasIwrotethisbook. MatteoRavasio,authoroftheexcellentStanfordEncyclopediaofPhilosophy ix https://doi.org/10.1017/9781108654777.001 Published online by Cambridge University Press
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