The Fine Art of Repetition: Essays in the Philosophy of MusicPeter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. |
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Page vii
... interpretation 95 VI On the concept of the " historically authentic " per- formance 117 THE WORLD OF OPERA VII Opera talk : A philosophical " phantasie " VIII How did Mozart do it ?: Living conditions in the 137 world of opera 160 IX ...
... interpretation 95 VI On the concept of the " historically authentic " per- formance 117 THE WORLD OF OPERA VII Opera talk : A philosophical " phantasie " VIII How did Mozart do it ?: Living conditions in the 137 world of opera 160 IX ...
Page ix
... interpretation . I know I have changed my mind on various issues since 1959 , and I hope I have learned a few things as well . Nevertheless , rereading my essays , in the preparation of this volume , I have con- cluded that even at the ...
... interpretation . I know I have changed my mind on various issues since 1959 , and I hope I have learned a few things as well . Nevertheless , rereading my essays , in the preparation of this volume , I have con- cluded that even at the ...
Page 5
... interpretation but in the light of my own work on the subject . Ultimately , I found what Kant had to say both enticingly original and forward- looking and a disappointing failure of nerve . The pair of essays on Hanslick were written ...
... interpretation but in the light of my own work on the subject . Ultimately , I found what Kant had to say both enticingly original and forward- looking and a disappointing failure of nerve . The pair of essays on Hanslick were written ...
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Page 48
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Contents
Music and the liberal education | 11 |
WORK AND PERFORMANCE | 33 |
Platonism in music A kind of defense | 35 |
Platonism in music Another kind of defense | 59 |
Orchestrating Platonism | 75 |
Live performances and dead composers On the ethics of musical interpretation | 95 |
On the concept of the historically authentic performance | 117 |
THE WORLD OF OPERA | 135 |
Child Mozart as an aesthetic symbol | 200 |
Charles Darwin on music | 214 |
MUSIC AND EMOTION | 227 |
Mattheson as philosopher of art | 229 |
Kant and the Affektenlehre What he said and what I wish he had said | 250 |
Something Ive always wanted to know about Hanslick | 265 |
What was Hanslick denying? | 276 |
A new music criticism? | 296 |
Opera talk A philosophical phantasie | 137 |
How did Mozart do it? Living conditions in the world of opera | 160 |
How did Mozart do it? Replies to some critics | 178 |
MUSIC AND THE HISTORY OF IDEAS | 187 |
Mozart and monotheism An essay in spurious aesthetics | 189 |
MUSIC ALONE | 325 |
The fine art of repetition | 327 |
Is music an art? | 360 |
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Common terms and phrases
absolute music aesthetic ideas answer argue argument aria arousal artist authentic performance Bach Bach's beautiful Beethoven's Third Symphony century Chapter claim composer's intentions concept conclusion Cone's confidence trick course creative Darwin denying discovery Don Giovanni Eduard Hanslick eighteenth essay example expressive properties fact feeling garden variety emotions Hanslick hear historically authentic human Ibid intentional object interpretation intuitions Jerrold Levinson Kant Kant's kind language least Levinson listener mance Mattheson means ment merely movement Mozart music criticism musical composition musical expression musicologists negative thesis notion object oboe oboe d'amore obvious opera operatic characters orchestra organism model original passage passionate perhaps Peter Kivy philosophical piece play plot archetype possess question representation sadness Schumann's score seems sense sical singing sion sonata sonata form song sonic sound structure Spencer suggest talk theme theory things thought tion tones trans Wallace wallpaper writes