How are we to assess the current popularity of period instruments and early-music performance? For musicians and audiences alike, the "historical authenticity" movement has increasingly influenced the performance of classical music. It has given us, claims Peter Kivy, "new and rewarding ways of listening to our musical reportory (as well as silly, vulgar, and unrewarding ones)." He believes that theory now overrules the ear in arguing for and justifying particular aesthetic decisions.
In his customary engaging style, Kivy here mounts a philosophical inquiry into the desirability of using or re-creating historical performance. "Authenticity has become so widely accepted," he writes, "that why it should be accepted has become an unasked, indeed a forgotten question among the converted." In "How to Be Authentic," the first section of his book, he examines four different kinds of authenticity; in the second part, "Why to Be Authentic," he suggests how to evaluate them. Discussing issues that he cares about passionately, Kivy provides ammunition for both camps—those who follow authentic performance practice and those who do not.
It is his hope that this book provides the groundwork for dialogue between mucisians and philosophers. "I look forward to that," he says, "and to being, when it comes, in the thick of things."
How are we to assess the current popularity of period instruments and early-music performance? For musicians and audiences alike, the "historical authenticity" movement has increasingly influenced the performance of classical music. It has given us, claims Peter Kivy, "new and rewarding ways of listening to our musical reportory (as well as silly, vulgar, and unrewarding ones)." He believes that theory now overrules the ear in arguing for and justifying particular aesthetic decisions.
In his customary engaging style, Kivy here mounts a philosophical inquiry into the desirability of using or re-creating historical performance. "Authenticity has become so widely accepted," he writes, "that why it should be accepted has become an unasked, indeed a forgotten question among the converted." In "How to Be Authentic," the first section of his book, he examines four different kinds of authenticity; in the second part, "Why to Be Authentic," he suggests how to evaluate them. Discussing issues that he cares about passionately, Kivy provides ammunition for both camps—those who follow authentic performance practice and those who do not.
It is his hope that this book provides the groundwork for dialogue between mucisians and philosophers. "I look forward to that," he says, "and to being, when it comes, in the thick of things."
What makes a musical work profound? What is it about pure instrumental music that the listener finds attractive and rewarding? In addressing these questions, Peter Kivy continues his highly regarded exploration of the philosophy of musical aesthetics. He considers here what he believes to be the most difficult subject of all—"just plain music; music unaccompanied by text, title, subject, program, or plot; in other words, music alone."
Описание: This book studies the working efficacy of Leonard Cohen`s song Hallelujah in the context of today`s network culture. Especially as recorded on YouTube, k.d. lang`s interpretation(s) of Cohen`s Hallelujah embody, acoustically and visually/viscerally, what Nietzsche named the `spirit of music`. Today.
Автор: Murungi John, Ardito Linda Название: Home - Lived Experiences: Philosophical Reflections ISBN: 3030703916 ISBN-13(EAN): 9783030703912 Издательство: Springer Цена: 16769.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Being at home or not is typically a matter of being at a place or not, where such a place is carved out of space and designated as such.
Автор: Murungi Название: Home - Lived Experiences ISBN: 3030703940 ISBN-13(EAN): 9783030703943 Издательство: Springer Рейтинг: Цена: 16769.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This book explores the lived experience of being at home as well as being homeless. Being at home or not is typically a matter of being at a place or not, where such a place is carved out of space and designated as such. It is a place that is both empirical and trans-empirical. When one is at home or not at home, one typically has in mind an inhabited place. To inhabit or not to inhabit it is to find oneself in a place that has an affective presence or absence. In either case, affectivity points to a lived place where lived experience is constituted and displayed. Thus, in this context, affectivity becomes more than the subject of empirical psychology. If psychology were to have access, it would be in the context of phenomenological or existential psychology – a psychology that has its roots in the sensible world and, hence, a psychology that expresses an aesthetic dimension. Each of the contributors in this book extends an invitation to the readers to participate in constituting, extending, and sharing with others the sense of either being at home or of being homeless. This book appeals to students, researchers as well as general interest readers.
Автор: Goehring Название: Three Modes of Perception in Mozart ISBN: 0521099161 ISBN-13(EAN): 9780521099165 Издательство: Cambridge Academ Рейтинг: Цена: 6494.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This 2004 book is a full-length, scholarly study of what is widely regarded as Mozart`s most enigmatic opera and Lorenzo Da Ponte`s most erudite text. Goehring`s study shows how Cosi affirms comedy`s regenerative powers and its capacity to grant access to modes of sympathy and understanding that are otherwise inaccessible.
Автор: Currie Название: Philosophical Aesthetics and the Sciences of Art ISBN: 1107654580 ISBN-13(EAN): 9781107654587 Издательство: Cambridge Academ Рейтинг: Цена: 4277.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This collection of essays, originating in a conference at the Leeds Art Gallery in 2012, reviews the role of empirical enquiry in philosophical aesthetics. Contributions address aesthetic testimony, the processing and appreciation of poetry, creativity, musical cognition, the aesthetics of disgust and evolutionary constraints on art appreciation.
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