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.
There is a strong intuition that we can listen to works of music, yet musical ontologies on which works of music are abstract objects, perhaps most notably, type theories of music, seem to imply that ...this is impossible. This problem has received relatively little attention in the literature. I here explore and develop a solution suggested by Julian Dodd and argue that it has at least two problematic consequences, namely (i) that some works of music cannot be listened to unless one has already studied the relevant score or through a similar process learned roughly what the work requires of its performances and (ii) that it is possible for two people to listen to different musical works while listening to the same performance.
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.
Música baudelairiana Sánchez Usón, María José
Eidos (Barranquilla, Colombia),
07/2024, Volume:
42, Issue:
42
Journal Article
Peer reviewed
Open access
En este trabajo se parte de una lectura interdisciplinar y crítica de los distintos actores y perspectivas que intervienen en la investigación baudelairiana, enfatizando la relación existente entre ...música y poesía. El conocimiento musical y la pasión por la música de Charles Baudelaire están presentes en su obra, en la que tanto citas directas como alusiones resultan esenciales para el develamiento y la comprensión de su yo poético. No obstante, es en el ámbito de la filosofía donde música y poesía van a encontrarse conciliándose, ya que ambas artes no solo se ven arrastradas naturalmente a la reflexión filosófica, sino que, al igual que la poesía genera "ideas", la música, por sí misma, compone "ideas-melodías".
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.
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.
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.
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.
