This essay is about how artists, listeners and critics claim to hear life in a sound and how this suggestive, but hazily defined, provocation connects vast cultural circuits of production, technology ...and capital. I argue that claims to life in a sound also belie an anachronistic return to an early modern understanding of sound as particulate matter and suggest a technoscientific discourse in which sound and data are described in terms of one another. With a close engagement with microsounds - from Gilles Deleuze to computer music specialist Curtis Roads - this essay queries what sonic particulates are presumed to be when they are mapped onto Spinoza's corpora simplicissima but processed through analogy synthesis or digital tools. In part, this essay tries to speak to a persistent separation of sonic materiality and auditory culture, in music and sound studies in which life in a sound cannot be thought apart from how life is subject to different kinds of extractions. With a return to Spinoza's physics, this essay also retakes the often sloganized "no one knows what a body can do" to emphasize an ethical recomposition of the text in which to "know" must be as open-ended as "body" is typically emphasized to be.
This article approaches the transformation of music's meaning and social insertion between the end of the 18th century and the beginning of the 19th century. Bearing in mind that the meaning of ...everything we now call Art was “invented” during this period, its central thesis is that this “invention” in music, beyond technical issues, had a deep relationship with new ways of representing knowledge by post-Kantian idealism and early German romanticism. The epistemic transformations proposed by these movements implied understanding certain artistic practices beyond the mere technical domain, thus placing them at the center of a knowledge model that refuses to be reduced to the pure mechanical manipulation of matter. In this manner, it faces the problem of a truth beyond the pure instrumental application of our comprehension. This question will determine the social and epistemic meaning that music begins to have from that period onwards. In this context, the word music begins to mean something very different from what said word meant for a large part of the 18th century and previous ones and, as a practice, earns its place as a crucial form of access to a highly significant type of knowledge for Modernity.
Starting from the perspectives of constructivist philosophy and process philosophy, this paper uses descriptive analysis to explore the philosophy concept of practical music education, and concludes ...that practical music philosophy is the result of the comprehensive effect of many factors in music education. On the basis of the philosophy concept of music education, combining the characteristic parameters and objective function and similarity algorithm to construct a practical music education philosophy resource recommendation model to realize the construction of practical music education philosophy in colleges and universities, and adopting the method of statistical analysis to research and analyze the practical music education philosophy in the digital era. The results show that the score of instrumental performance students (4.0431) is significantly lower than that of students of other majors, and the difference is significant, with higher humanistic literacy in art and sports and a better foundation in cultural courses. The order of correlation between the scores of emotional identity dimension and the factors influencing the work of values cultivation in the philosophy of practical music education is, in descending order, the object of education (0.499), the subject of education (0.451), the mediator of education (0.476), and the ring of education (0.287), which indicates that the object of education (college students) is the most important factor influencing the work of values cultivation in the philosophy of practical music education. The purpose of this study is to examine the meaning and significance of practical music education philosophy, which is a significant source of inspiration for music education in China today.
This volume shows why it is misleading to view time as an object, exploring the insights that can be gained from analogies between sequences and by comparing event timings. Incorporating extensive ...references to music and, more broadly, to the act of listening provides illuminating glimpses into these fundamental structural properties of reality.
Bloch’s philosophy of music is one of the most interesting of the twentieth century, particularly in the context of Marxist aesthetics. This article focuses on the various peculiarities of this ...thought, which seldom are highlighted. Firstly, through a new analysis of the musical sections of Spirit of Utopia and The Principle of Hope, the relation between utopia and music will be discussed in Sections 2 and 3 in order to show the originality of Bloch’s refusal of the Marxist base-superstructure model in the field of aesthetics. In contrast to the other philosophies of music, the study of music inspires theoretical speculation in Bloch’s thought and not vice versa. In order to demonstrate this connection, in Sections 4 and 5, the idea of the sound in Spirit of Utopia will be examined and compared to the conception of the matter as it is presented in The Principle of Hope, The Materialism Problem, its History and Substance, and other works. These paragraphs aim to highlight how the early conception of sound was the model for the later conception of matter.
While institutional critique has long been an important part of artistic practice and theoretical debate in the visual arts, it has long escaped attention in the field of music. This open access ...volume assembles for the first time an array of theoretical approaches and practical examples dealing with New Music’s institutions, their critique, and their transformations. For scholars, leaders, and practitioners alike, it offers an important overview of current developments as well as theoretical reflections about New Music and its institutions today. In this way, it provides a major contribution to the debate about the present and future of contemporary music.
This text aims to discuss the following hypothesis: in the context of damaged life, songs with a claim to autonomy, which accept contradictions and what is not identical and that, therefore, have the ...potential for criticism and human formation affect the listeners and are capable of producing rejection. From the Critical Theory of the Society, it is argued that the rejection is also desirous, because we are very violently deprived of formation. Thus, it is concluded that the damaged life builds a relationship of resentment between the listeners and the music with pretensions of autonomy, which becomes dangerous in the face of the few training possibilities that remain in the contradictions
El objetivo de este texto es discutir la siguiente hipótesis: en el contexto de la vida dañada, las canciones con pretensión de autonomía, que acogen las contradicciones y lo no idéntico y que, por lo tanto, tienen potencial de crítica y formación humana, afectan a los oyentes y son capaces de producir rechazo. Desde la Teoría Crítica de la Sociedad, se discute que el rechazo es también deseoso, pues que somos muy violentamente privados de formación. Así, se concluye que la vida dañada construye una relación de resentimiento entre los oyentes y la música con pretensiones de autonomía, lo cual se pone como peligroso frente a las pocas posibilidades de formación que todavía permanecen en las contradicciones
Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less ...often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could cause a great change in the field and open up new possibilities. This paper aims to develop a new metaontological view starting from the widely accepted claim that musical works are created. It contends that musical works must be concrete and created objects of some sort, but, nevertheless, they are mind-independent, and we should take the revisionary methodological stance. Although musical works are artifacts, what people think about them does not determine what musical works are. Musical works are similar to natural objects in the following sense: semantic externalism applies to the term ‘musical work’ because, firstly, they possess a shared nature, and, secondly, we can be mistaken about what they are.
One of Griboyedov’s unrealised lines of work shaped by his musical talents was his interest in the foundations of musical science. Griboyedov’s scholarly ideas about the value-based content of music, ...musical theory and terminology, and his interest in musical ethnography were implemented by his younger contemporaries and companions V.F. Odoyevsky and M.D. Rezvoy. The moments of mutual influence between Griboyedov and Odoyevsky are revealed in their epistolary contacts. The contacts between Griboyedov and Rezvoy can be apprehended through the 1825 pencil portrait of Griboyedov by Rezvoy. The range of ideas expressed by Griboyedov was later continued by Rezvoy and Odoyevsky. Griboedov’s “code” in Russian musical art — attention to the history of Russia, the science of music, folk theater, folk song, the high sphere of temple art — was translated into the social, scientific, and artistic activities of his companions and followers.
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