By David B. Greene
Many modern composers and song critics say in an offhand manner that each one track written some time past region century is ready track - that it's reflexive and self-referential in a few major experience. it truly is track looking for an knowing of itself. This publication attempts to deepen the certainty of song approximately tune in addition to track itself in 4 methods. First, it places music's personal self-understanding onto an equivalent footing with philosophical aesthetics of tune. It topics items of song approximately song to shut, distinct research, and places the statements in regards to the nature of song that emerge from those analyses into dialog with philosophical statements approximately song. moment, it investigates even if and in what manner the concept that of reflexive song is smart and to what volume tune approximately song is feasible. 3rd, it inquires into the necessity for track to go looking for itself, and evaluates the relationship among this want and the ecu fascination after which disillusion with the concept that of aesthetic adventure. Fourth, it brings to the skin a feeling, embedded in music's self-understanding, that there are critical limits to the meaningfulness of tune often that it really is hence most unlikely for song approximately song to be absolutely significant.
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Additional info for Music In Search Of Itself: Essays On Music About Music
These examples and the issues they raise also provide the context in which the questions of the need for and impossibility of music about music are developed in Chapters Three and Four. Chapter Two Hearing the Possibility of Music about Music: Five Pieces 1. Handel’s Ode for St. Cecilia’s Day. A Celebration of the Musicality of the Divine To honor the patron saint of music, St. Cecilia’s Day was regularly observed in London on November 22 from 1683 to 1703, and sporadically in a few other English cities.
Indeed, the independent reality of one of them would be attenuated if they were so joined. This reticence protects the process and the power driving it from being construed as a natural, humanly comprehensible one. Handel’s procedure stands in contrast to monism and dualism, both of which, different as they are, rationalize the change from non-world to world. He could, of course, have built a structure in 42 which the change itself was metaphorically exemplified. Because the chorus’s opening does not seem arbitrary, though it is not musically prepared either, the power of music itself is as inscrutable—as little susceptible to discursive explanation—as that for which it is a metaphor.
A. Howard, “On Musical Expression” in Catherine Z. , Nelson Goodman’s Theory of Art (New York, 1997), pp. 310-33. 10 11 Languages of Art (Indianapolis, 1968), p. 53. , pp. 68-69, 86 23 the analysis of meta-music that follows here. For them, non-literal possession is non-possession. In their thinking, metaphors are nothing but similes from which the word “like” has been dropped, and the power of a metaphor is that it calls attention to a hitherto unnoticed similarity; it challenges the mind to rethink both the metaphorical subject and the metaphorical object so that their hidden resemblance may come out into the open.