Titre
Music and Humanism - An Essay in the Aesthetics of Music
Auteur
Sharpe, R. A. (Robert Augustus)
Langue
Anglais
ISBN
9780198238850
Éditeur
Oxford University Press, 2000
Prix
€ 78,00(Excl. toute livraison)
Détails
Gebonden, linnen band met stofomslag, 217 pp. In uitstekende staat
Plus d'informations
ISBN 0198238851 Vrij van inscripties e.d.
Robert Sharpe examines fundamental questions about our understanding and appreciation of music, towards a reassessment of the conception of music that has been dominant in Western culture. He focuses on the problem of expression in music, and on the role of pleasure in aesthetic judgement.
R. A. Sharpe argues that the views these questions enshrine underestimate the cognitive element in our response to music. Our beliefs about music and our knowledge of the culture in which it originated underlie the judgements we make. At their most general, these cognitive elements are ideological in nature and they play both a positive and a negative role in our response to music-they both help and hinder. Music has long been thought of as a language. This metaphor underpins the way we hear music and the way we think about it. We conceive of music both as expressive and as something to be understood. Almost certainly the roots of this conception lie in the fertilization of music by rhetoric during the Renaissance. Sharpe suggests that music may have entered a new period in which the language analogy and the humanist conception of music which it expresses are becoming less and less appropriate
The philosopher R. A. Sharpe was most widely known through his work in aesthetics. His Contemporary Aesthetics: a philosophical analysis appeared in 1983, and The Philosophy of Music in 2004. In his Music and Humanism (2000), described by one reviewer as "a richly observed and highly insightful piece of writing that should be read by anybody seriously interested in the current state of musical aesthetics", Sharpe examines the humanist conception of music as a language, stressing the fundamental connections between music and human life, and argues against the persistent tendency to underestimate the cognitive element in our response to music.
His deep commitment to the idea that our tastes in the arts can be more or less well informed was closely linked with his anger at images that have come to dominate public thinking about education: for example, the image of pupils and students as "customers".
Robert Sharpe examines fundamental questions about our understanding and appreciation of music, towards a reassessment of the conception of music that has been dominant in Western culture. He focuses on the problem of expression in music, and on the role of pleasure in aesthetic judgement.
R. A. Sharpe argues that the views these questions enshrine underestimate the cognitive element in our response to music. Our beliefs about music and our knowledge of the culture in which it originated underlie the judgements we make. At their most general, these cognitive elements are ideological in nature and they play both a positive and a negative role in our response to music-they both help and hinder. Music has long been thought of as a language. This metaphor underpins the way we hear music and the way we think about it. We conceive of music both as expressive and as something to be understood. Almost certainly the roots of this conception lie in the fertilization of music by rhetoric during the Renaissance. Sharpe suggests that music may have entered a new period in which the language analogy and the humanist conception of music which it expresses are becoming less and less appropriate
The philosopher R. A. Sharpe was most widely known through his work in aesthetics. His Contemporary Aesthetics: a philosophical analysis appeared in 1983, and The Philosophy of Music in 2004. In his Music and Humanism (2000), described by one reviewer as "a richly observed and highly insightful piece of writing that should be read by anybody seriously interested in the current state of musical aesthetics", Sharpe examines the humanist conception of music as a language, stressing the fundamental connections between music and human life, and argues against the persistent tendency to underestimate the cognitive element in our response to music.
His deep commitment to the idea that our tastes in the arts can be more or less well informed was closely linked with his anger at images that have come to dominate public thinking about education: for example, the image of pupils and students as "customers".
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