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Topic: Aesthetics of music

	Aesthetics of music - Wikipedia, the free encyclopedia
		The aesthetics of music or musical aesthetics is the quality and study of the beauty and enjoyment (plaisir and jouissance), the aesthetics, of music.
		As such, music is a powerful art form whose aesthetic appeal is highly dependent upon the culture in which it is practiced.
		In the 1700s, music was considered to be so far outside the realm of aesthetic theory (then conceived of in visual terms) that music was barely mentioned in William Hogarth's treatise, The Analysis of Beauty.
	en.wikipedia.org /wiki/Aesthetics_of_music (645 words)

	MTO 5.3: Buhler, James, Review of Roger Scruton
		Consequently when discussing music, we must, Scruton argues, be careful not to commit the error of mistaking sound for music, that is, the material substrate for the ideal object, even though the temptation will be great given the material substantiality of sound.
		Popular music ceases to be music, just as sexual love ceases to be love: nothing less than this is required by the new form of life--the fear, inadequacy, and anger that attend the attempt to live without the blessing of the dead--is itself expressed by the popular culture and reabsorbed by it.
		Scruton attributes this "death" of music to the triumph of democratic culture and the leveling of taste that goes with it, but it is equally possible that such loss of faith, as it might be called, has as much to do with a general reflection of democratic culture on its own conditions of possibility.
	mto.societymusictheory.org /issues/mto.99.5.3/mto.99.5.3.buhler.html (4459 words)

	Music 203 - Aesthetics of Film Music
		The use of popular music places the scene in the late 1960s and idetnifies the culture as American, even though the locale is Vietnam.
		Music can be used to underline or create psychological refinements–the unspoken thoughts of a character or the unseen implications of a situation.
		By presenting a continuous and comprehensible thread of music through the diverse visual presentation (which switches among various perspectives), a sense of a larger unit is created.
	www.upei.ca /~azinck/courses/music203/aesthetics.html (1073 words)

	The Guqin - Aesthetics (Site not responding. Last check: 2007-09-10)
		Buddhists had their own guqin music as well, but conflicts between Buddhism and Daoism sometimes led to Buddhists, like actors, singing girls and whores, being among the proscribed groups for whom the guqin should never be played (van Gulik 1969, p.
		Music was part of the ritual not only in the sense that certain ceremonies had to be accompanied by music, but also in that the music most valued by Confucianism was music which "soothed the savage breast." Confucius himself condemned the music of the small fiefdom of Zheng as being unrestrained.
		Guqin music was written, or perhaps interpreted, to illustrate Confucian virtues.
	www.cechinatrans.demon.co.uk /gq-aesth.html (752 words)

	Experiencing Music Video: Aesthetics and Cultural Context by Heidi Peeters
		Considering the fact that the theoretical music video canon is underdeveloped to such an extent that undergraduates' interest in the medium is far greater than the available teaching materials, almost any monograph on the subject will probably be hailed as a new gospel in visual studies, cultural studies and television studies departments alike.
		Her bottom-up approach reaches no further than the surface of the music video, as she does not search for an overall Gestalt or a universe that might be inside the shell of images and sounds.
		The sensation of arbitrariness is intensified by the fact that the music video fragments that are used to exemplify the theoretical claims of the author are presented in isolation from their thematic and narrative context, so that a thorough knowledge of the material is needed in order to verify the author's claims.
	www.imageandnarrative.be /worldmusicb_advertising/peeters.htm (1546 words)

	Aesthetics of Confucius
		Among the Chinese aesthetics, the philosophy of Confucius (551-479 B.C.E.) thoether with the philosophy of Taoists had strongly influenced the development of Chinese music.
		Therefore, music and dance with the sens of proper etiquette is important in the formal, ritual, or governmental ceremonies.
		He was against the use of music for political propaganda, but rather promoted music as a natural, acoustic phenomenon, futhering the Taoist attitude that music should function to enhance the non-emotive state of mind.
	www-camil.music.uiuc.edu /musedex/taiwan/aesthetics/Aesthetics.html (630 words)

	Baroque Music (via CobWeb/3.1 planetlab2.tamu.edu) (Site not responding. Last check: 2007-09-10)
		Renaissance music (Remember, it came before Baroque.) was more like a bowlful of toppings without banana or ice cream, just a bowlful of assorted nuts, syrups, sprinkles, cherries and cream all congealing together into a puddle of oversweet ooze.
		His passion and devotion was to his music alone, and the young maidens of his school remained just that—at least as far as he was concerned.
		It was a lucky coincidence that he was as good a violin player as he was, since the music he wrote was so difficult, written to showcase only the greatest of the violin soloists.
	www.sesk.org.cob-web.org:8888 /Aesthetics/Music/Baroque.htm (3051 words)

	aesthetics_music (via CobWeb/3.1 planetlab2.tamu.edu) (Site not responding. Last check: 2007-09-10)
		This is an account of the nature and significance of music from the perspective of modern philosophy, illustrated with music examples.
		The various schools of musical analysis are subjected to a critical examination, and recent criticism's of tonality, as the foundation of musical order, are rehearsed and rejected.
		The philosophy of music is the oldest branch of aesthetics, and also the most influential, being responsible for the cosmology that came down from the Pythagoreans, via Plato, Ptolemy, St Augustine, Plotinus, and Boethius, to the poets and philosophers of the Middle Ages.
	www.rogerscruton.com.cob-web.org:8888 /books/aesthetics_music.html (427 words)

	Skytopia : Music theory and art aesthetics. Can melody be rated?
		Of course, each 'whole' piece of music is greater than the 'sum of its parts', but no doubt if you were to break a tune down - every single chord, 'sub-melody' or 'bit' of that tune could be rated and evaluated on all the aforementioned attributes - too.
		If music has to be given 'styles' (or categorised by genre), I think the proper way to do it would be to give them 'style tags' separately for the chord flavour/s, rhythm flavour/s, structural flavour/s, speed tempo/s and average intricacy of a piece.
		In good music, a small section taken from the whole is amazing too (for example, zooming into a picture would reveal a new and 'different' picture; and that as part of the whole, it still fits in appropriately).
	www.skytopia.com /project/rating.html (5149 words)

	Teaching Cognitive Science and the Arts III
		For students with strong background in music aesthetics, many natural areas of interest are not touched upon, such as expression, interpretation, and style.
		The two most basic ways to structure a course in music and cognitive science are as (a) a seminar on an interesting topic in cognitive science and philosophy of mind, or (b) a seminar in the aesthetics of music.
		What she has in mind by musical feeling is fairly narrow; Stephen Davies offers persuasive criticisms in his review, noting also that she moves too quickly in rejecting certain views on musical expressiveness.
	www.aesthetics-online.org /ideas/freeland3.html (1855 words)

	The aesthetics of rap - music African American Review - Find Articles
		The majority of articles regarding rap music are written by music critics, or - far too often - social or political personalities who are not knowledgeable enough to be involved in a serious discussion about rap music.
		Rap music was first recorded on independent labels, and the independents did not, in general, sign unoriginal or otherwise inferior artists because they had a much smaller margin for error than did the major labels.
		At the time, the audience for rap music was such that quality, hard-core (i.e., non-commercial) material was generally more successful than less artistically inclined material.
	www.findarticles.com /p/articles/mi_m2838/is_n2_v29/ai_17534805 (926 words)

	CCA Music Faculty
		He received his Bachelor of Music in Piano from the University of Northern Colorado and Master of Music in Piano from the Peabody Conservatory of Music of the Johns Hopkins University.
		She was a music director of the CCA Opera Workshop and maintains a private piano studio.
		He was music director and conductor of the Rocky Mountain Flute Choir in Denver from 2001-2003 and music coordinator / director for the First Plymouth Congregational Flute Ensemble in Englewood from 2001-2005.
	www.ccaurora.edu /musicdept/faculty.htm (1792 words)

	Aesthetics - Wikipedia, the free encyclopedia
		Aesthetics (also spelled esthetics or æsthetics) is a branch of value theory which studies sensory or sensori-emotional values, sometimes called judgments of sentiment or taste.
		For Schopenhauer aesthetic contemplation of beauty is the most free that the pure intellect can be from the dictates of will; here we contemplate perfection of form without any kind of worldly agenda, and thus any intrusion of utility or politics would ruin the point of the beauty.
		Aesthetics in music are often believed to be highly sensitive to their context: what sounds good in modern American rock might sound terrible in the context of the early baroque age.
	en.wikipedia.org /wiki/Aesthetics (4956 words)

	Hamilton Academy Electronic Music Lab
		My name is Robert W Bruning, and I have the distinct pleasure of teaching Music Technology and Electronic Instrumental Ensemble classes at the Alexander Hamilton Academy of Music.
		Music Technology provides basic historical background and first hands-on experiences with the physics of sound, audio equipment, electric and electronic musical instruments, synthesizers, analog recording, computers, MIDI sequencing, and digital audio.
		Much of the class discussion is on the aesthetics of music as it is created, recorded, and reproduced by electronic means.
	www.lausd.k12.ca.us /Hamilton_Music_Magnet/elab/index.htm (405 words)

	MTO 5.1: New Books
		Edward A. Lippman's writings on musical aesthetics comprise a wide variety of areas and employ both systematic and historical approaches, reflecting throughout his unrivaled knowledge of the philosophical literature on music and his deep understanding of the musical repertory.
		Edward A. Lippman is a professor emeritus of music at Columbia University.
		David Schulenberg is an assistant professor of music at the University of North Carolina, Chapel Hill.
	www.societymusictheory.org /mto/issues/mto.99.5.1/bks.5.1.html (1211 words)

	Classical Net - Books About Music - Music and the Mind (Site not responding. Last check: 2007-09-10)
		Music, the Brain, and Ecstasy is divided into chapters on the basics of sound and aspects of music and the way music is perceived, then it considers the neurological and emotional adaptations of composers and musicians to the demands of the music.
		Music is at once deeply personal and highly social, highly disciplined and open to emotional nuance and interpretation.
		Music synchronizes the brain and has had a profound, and little-appreciated, influence on the shape of the mind and human cultures.
	www.classical.net /music/books/mind.html (868 words)

	Oxford Scholarship Online: The Aesthetics of Music (via CobWeb/3.1 planetlab2.tamu.edu) (Site not responding. Last check: 2007-09-10)
		Musical understanding is based in a form of imaginative perception, in which metaphors of space, weight, effort, and movement play an organising role.
		Musical meaning does not arise through representation, but through expression and form, both of which must be explained through a theory of musical understanding.
		Tonality is examined as a paradigm of musical organization, and a theory of expression advanced that gives prominence to first-person awareness and ‘knowing what it's like’, while acknowledging that expression and musical organization are interconnected.
	whiz.prov.ingenta.com.cob-web.org:8888 /oso/public/content/philosophy/019816727X/toc.html (276 words)

	Experiencing Music Video; Aesthetics and Cultural Context; Carol Vernallis
		Music videos have ranged from simple tableaux of a band playing its instruments to multimillion dollar, high-concept extravaganzas.
		Born of a sudden expansion in new broadcast channels, music videos continue to exert an enormous influence on popular music.
		Here at last is a study that treats music video as a distinct multimedia artistic genre, different from film, television, and indeed from the songs they illuminate—and sell.
	www.columbia.edu /cu/cup/catalog/data/023111/0231117981.HTM (453 words)

	Fine Arts - Music Course Description - Music Aesthetics
		This course is designed for students who seek the opportunity to extend their musical understanding, heighten music listening skills, and increase their ability to respond more fully to music.
		The Utah State Music Core divides the goals of music education into four music standards which are Perform, Create, Listen/Analyze/Evaluate, and Discover Meaning.
		Read/sing/play excerpts of selected music in class and describe the expressive effects that can be used to create style and impact.
	www.uen.org /core/core.do?courseNum=1700 (846 words)

	SHC Research Workshops - Music, Aesthetics, & Critical Theory
		This workshop will provide a forum in which to explore current issues in aesthetics, criticism, and interpretation, establishing a dialogue between musicology and interdisciplinary interests in the humanities.
		A crucial element of graduate student research in musicology today is to understand the relationship between music and disciplines like philosophy, literature, and the history and criticism of the visual and performing arts.
		A workshop of this nature provides and invaluable forum for graduate students and faculty to promote engagement with current scholarship, present ongoing research projects, and to form stimulating intellectual exchanges among various Stanford departments.
	www.stanford.edu /dept/SHC/workshops/musicaesthetics_0506.htm (138 words)

	BU \| CFA \| School of Music \| Areas of Instruction \| Musicology
		The faculty of the Musicology Department are actively involved in research with specific strengths in: the music and music theory of the Middle Ages; the music of J. Bach, Beethoven, Mahler; the history of music criticism and aesthetics; the music of the Renaissance and Baroque; 19th- and 20th-century Russian music; and jazz studies.
		The faculty aim to help every student develop his or her specific area of research interest within the context of a broader knowledge of the main trends in the history of music.
		In this way, students are prepared either to pursue their interests at higher levels of graduate study, or to embark directly on careers in teaching, research, and writing.
	www.bu.edu /cfa/music/departments/musicology.htm (218 words)

	Amazon.com: Adorno's Aesthetics of Music: Books: Max Paddison (Site not responding. Last check: 2007-09-10)
		It is a book that one can present without embarrassment to graduate students conversant with the most up-to-date intellectual currents; even in the shifting sands of the increasingly postmodernist university, Paddison's book, like Adorno's work, has not only the sharp intelligence but also the irreducible multivalence to hold its own as a focus of study...
		A casual survey of Adorno's writings on music could well give the impression that his theoretical concerns emerged fully formed in the 1920s and did not change substantially thereafter.
		as a composer Adorno was a breath of fresh air with an historical depth, the academics in music still haven't dealt with the implications of his thought, the political and social functions of music are now beginning to be duscussed by people such as Susan McClary and Edward Said.
	www.amazon.com /Adornos-Aesthetics-Music-Max-Paddison/dp/0521626080 (1064 words)

	Amazon.com: The Aesthetics of Music: Books: Roger Scruton (Site not responding. Last check: 2007-09-10)
		Scruton's music examples are impressive not only for the number and range of them...
		It is profoundly erudite, well-written and handsomely produced, and one of its major pleasures is the abundance of musical examples: Scruton's knowledge of music and music history is quite exceptional.
		The basic idea that music powerfully both reflects and influences the soul and thus society is certainly not new (it's part of ancient wisdom).
	www.amazon.com /Aesthetics-Music-Roger-Scruton/dp/019816727X (1739 words)

	UI-School of Music : Faculty \| Bio
		He taught electronic music at the University of California-Berkeley, where he also served as director of music and technology at the Center for New Music and Audio Technologies (CNMAT, http://www.cnmat.berkeley.edu/).
		Among his most recently completed works are Partita for solo violin, a piece for saxophone and ensemble, commissioned by the Fromm Foundation and Ensemble 21, and a work for bass recorder and electronics, entitled Lyric Spaces, commissioned by the ERTA Congress in Vienna and premiered in that city and in Berlin, Germany.
		Continuing his previous work in the aesthetics of music technology, Professor Garnett gave a lecture in the CyberArts program sponsored by the Center for Advanced Study at UIUC.
	www.music.uiuc.edu /facultyBio.php?id=31 (568 words)

	JMU School of Music: Faculty/Areas: Music History and Literature
		Dr. Curry holds a B.M. degree in music education from Butler University (Indianapolis), an M.A. degree in music theory and composition from the University of Denver, and Ph.D. in music composition from the University of Utah.
		Jonathan Gibson received a B.M. in Music Education at the University of Richmond and was awarded the Bobby Chandler Award in Music, after which he earned his M.A. and Ph.D. in Musicology from Duke University (2003).
		His Ph.D. dissertation is entitled “Le Naturel and L’Éloquence: The Aesthetics of Music and Rhetoric in France, 1650-1715.” His research interests include seventeenth-century music, early music performance practice, music and rhetoric, issues relating to musical gesture and subjectivity, and folk music traditions of Appalachia and the British Isles.
	www.jmu.edu /music/faculty_areas/music_history (1036 words)

	Aesthetics (Site not responding. Last check: 2007-09-10)
		Contains a general theory of aesthetics and a history of aesthetics.
		Monelle, Raymond, Linguistics and Semiotics in Music, Harwood Publ, Edinburgh, 1992.
		Scruton, Roger, The Aesthetics of Music, Oxford, 1997.
	www.minotaurz.com /minotaur/edu/aesthetics.html (694 words)

	Music at Emory University
		She has a forthcoming monograph The Music of Louis Andriessen (Cambridge University Press, 2006) and has edited and contributed to a collection of essays entitled Locating East Asia in Western Art Music (Wesleyan University Press, 2004).
		She has received the Society for Music Theory Subvention award, grants from the National Endowment for the Arts, Asian Cultural Council, Campus Research Board Funding (University of Illinois), Junior Faculty Development Award (University of Colorado), and scholarships from the Goethe Institute (Vienna, Austria) and the Aspen Music Festival.
		Prior to coming to Emory, she taught Music Theory at the University of Colorado (1992-99) and at the University of Illinois at Champaign-Urbana (1999-2000).
	www.music.emory.edu /faculty/yeverett.html (242 words)

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