With a combination of cultural criticism and close readings of musical works, the contributors demonstrate repeatedly that to make music is also to make value, in every sense. They give particular attention to values that have historically enabled music to assume a formative role in human societies: to foster practices of contemplation, fantasy, and irony; to explore sexuality, subjectivity, and the uncanny; and to articulate longings for unity with nature and for moral certainty. Each essay in the collection shows, in its own way, how music may provoke transformative reflection in its listeners and thus help guide humanity to its own essential embodiment in the world.
The range of topics is broad and developed with an eye both to the historical specificity of values and to the variety of their possible incarnations. The music is both canonical and noncanonical, old and new. Although all of it is “classical,” the contributors’ treatment of it yields conclusions that apply well beyond the classical sphere. The composers discussed include Gabrieli, Marenzio, Haydn, Beethoven, Mendelssohn, Brahms, Wagner, Puccini, Hindemith, Schreker, and Henze.
Anyone interested in music as it is studied today will find this volume essential reading.
Keith Chapin is Lecturer in Music at Cardiff University. He has taught at Fordham University (New York) and at the New Zealand School of Music (Wellington). He specializes in issues of critical theory, music aesthetics, and music theory in the seventeenth through twentieth centuries and in particular on issues of counterpoint. He has been Coeditor of Eighteenth- Century Music and Associate Editor of 19th-Century Music and sits on the editorial boards of these journals. He was coeditor (with Lawrence Kramer) of Musical Meaning and Human Values (2009). Recent articles have appeared in Music & Letters, 19th-Century Music, and the International Review of the Aesthetics and Sociology of Music
Lawrence Kramer is Distinguished Professor of English and Music at Fordham University, the editor of 19th-Century Music, and a prize- winning composer whose works have been performed internationally. He is the author
of eleven books on music, most recently including Why Classical Music Still Matters (2007), Interpreting Music (2010), and Expression and Truth: On the Music of Knowledge (2012). His string quartet movement “Clouds, Wind, Stars” won the 2103 Composers Concordance “Generations” Prize. Recent and forthcoming performances include Words on the Wind for voice and chamber ensemble (New York City, 2013), Pulsation for piano quartet (Ghent, Belgium, 2013), Songs and Silences to Poems by Wallace Stevens (London, 2013), and two string quartets, nos. 2 and 6 (New York City,
The Routledge Companion to Philosophy and Music is essential reading for anyone interested in philosophy, music and musicology.
Wilshire builds on James’s concept of the much-at-once to name the superabundance of the world that surrounds, nourishes, holds, and stimulates us; that pummels and provokes us; that responds to our deepest need—to feel ecstatically real.