It is difficult to overstate music's persistent and uneasy relationship with homosexuality in Western society. Associated with femininity for centuries, particularly in North America, participation in music has been believed to emasculate and thus homosexualize men and boys. The linking of music to women and emotion (as opposed to men and reason) contributes to the conflation of misogyny and homophobia in North American society generally and music and music education particularly. One effect of (...) class='Hi'>music's conflicted relationship with and to homosexuality for lesbians and gay men is to "disappear" them in both professions. As a function of disappeared positionalities, subject positions of homosexualities and potentialities of creating lives worth living are also disappeared. I explore ontological effects of disappeared in the world and music and music education, and reconceptualize "disappeared" in terms of Jacques Derrida's concept of "under erasure"—sous rature—in ways that may signal other ontological potentialities. (shrink)

This collection of essays provides the first in-depth examination of camp as it relates to a wide variety of twentieth and twenty-first century music and musical performances. Located at the convergence of popular and queer musicology, the book provides new research into camp's presence, techniques, discourses, and potential meanings across a broad spectrum of musical genres, including: musical theatre, classical music, film music, opera, instrumental music, the Broadway musical, rock, pop, hip-hop, and Christmas carols. This significant (...) contribution to the field of camp studies investigates why and how music has served as an expressive and political vehicle for both the aesthetic characteristics and the receptive modes that have been associated with camp throughout twentieth and twenty-first-century culture. (shrink)

A book reading between k.d. lang's interpretation of Leonard Cohen's 'Hallelujah,' male and female desire, today's network culture, Adorno on radio and Nietzsche on the Greeks. The working of music is transformed by digital media, broadcast and recording dynamics. Given the sexual/religious core of Cohen's Hallelujah, this study poses a phenomenological reading of the objectification of both men and women, raising the question of desire, including gender issues and both homosexual and heterosexual desire. A review of critical thinking about (...) musical performance as 'currency' and consumed commodity takes up Adorno's reading of Benjamin's analysis of the work of art in the age of mechanical reproduction as applied to music/radio/sound and the persistent role of 'recording consciousness'. Ultimately, the question of what Nietzsche called the becoming-human-of-dissonance is explored in terms of both ancient tragedy and Beethoven's striking deployment of dissonance as Nietzsche analyses both as playing with suffering, discontent, and pain itself, musically, as joy. (shrink)

According to Didier Eribon, melancholy is where it all starts and where it also ends: the lifelong process of mourning that each homosexual experiences, and through which they construct their own identity. In this beguiling book, an introverted, anxious, ambitious, artistically gifted queer Filipino-Canadian boy finds solace, inspiration, and a "syllabus for living" in art--works of literature and music, from the children's literary classic Anne of Green Gables to the music of Maria Callas. But their contribution to his (...) intellectual, emotional, and spiritual edification belies the fact that they were largely heteronormative and white, which had the effect of invisibilizing him as a queer person of colour. Part memoir, part cultural commentary, and a hybrid of besotted aesthetic appreciation and unsparing critique, Double Melancholy is by turns a passionate love letter to art and an embattled examination of its oppressive complicity with the society that produces it, and the depths to which art both enriches and colonizes us. (shrink)

John O'Neill explores the human passions as both the object of psychoanalysis and the creative principle of Freud's own discovery and practice of psychoanalysis. Love, hate, anger, jealousy, envy, knowledge, and ignorance: the passions dominate infancy, adolescence, and adulthood, marking them with narcissism, murder, seduction, and self-destruction. They are both the soul's theater and the soul of theater, art, literature, and music. If fear, hate, envy, and jealousy rival love, beauty, and knowledge, or turn into one another, they just (...) as surely expand the human heart. The original essays in this volume analyze the human passions in Freud's metapsychology, from the case histories of Dora, Rat Man, and Schreber to his studies of Leonardo da Vinci, Gradiva, and the "Case of Homosexuality in a Woman." Other essays are devoted to Macbeth, the Judgment of Solomon, Virginia Woolf, and Freud's own adolescence. In constructing a genealogy of the passions from early to late modernity, these studies show the subtle interaction of psychic and social conflict, of ambivalence and disavowal in the workings of the human soul. Contributors are John O'Neill, William Kerrigan, Donald L. Carveth, Jerome Neu, Kathleen Woodward, Claire Kahane, Mary Jacobus, John Forrester, Ellie Ragland, Geoff Miles, and Laurence A. Rickels. (shrink)

This research analyses sexual prejudice in sixteen dancehall and reggae songs—two musical genres indigenous to Jamaica. The analysis provides us with insights on the lenses through which some Jamaicans view same-sex relationships and how sexual prejudice is normalised and justified. In this sample of songs, homosexuality is presented as (1) a violation of gendered norms, (2) sinful, (3) unnatural, (4) a threat to society and (5) a foreign lifestyle. The presentation of homosexuality as a foreign lifestyle suggests that (...) antigay prejudice could be related to fears of neo-imperialism and could be a means of rejecting ideological intrusions from the West. (shrink)

The score of Piece Four of Sylvano Bussotti's Five Piano Pieces for David Tudor is the most important image in A Thousand Plateaus. It serves as a prefatory image not only to the Rhizome plateau, but also to the work as a whole. It functions as the book's musical score, guiding readers in their performance of the text. Embracing John Cage's graphism and aleatory practices, Bussotti created his own ‘aserial’ new music, one that celebrated passion and Bussotti's open (...) class='Hi'>homosexuality. The visual elements of Piece Four include a deterritorialisation of the standard piano score, a diagram of the composition's abstract machine, and a drawing that Bussotti had produced ten years before writing Five Piano Pieces for David Tudor. The drawing itself is a rhizomic artwork, with details that echo visual motifs throughout A Thousand Plateaus. The superimposition of the drawing on the deterritorialised framework of the standard piano score conjoins the visible and the audible, faciality and the refrain, in a single artefact. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Nietzsche, Biology and MetaphorBabette E. BabichGregory Moore. Nietzsche, Biology and Metaphor. New York: Cambridge University Press, 2002. Pp. viii + 228. Cloth, $55.00.Gregory Moore's Nietzsche, Biology and Metaphor is a well-written book on a topic of growing importance in Nietzsche studies. Not only concerned with offering an interpretation of Nietzsche in terms of biology and metaphor, Moore's approach offers a literary contextualization of Darwinism in the history of (...) ideas but also in terms of an important reflection on the idea of decadence so important to Nietzsche and so influential in theorizing public health and law in the twentieth century, most perniciously in its deadly expressions in Nazi propaganda. Moore is thus able to bridge the fields of the more specifically linguistic study of metaphor and source-scholarship. To Moore's great credit, he seeks to emphasize the extent to which Nietzsche's thought was developed in active correspondence with the scientific literature and debates of his age. But this reviewer thinks it important to warn those with classical or traditional interest in metaphor that the text presupposes that the reader (and this is also to say that Moore) knows a Nietzschean metaphor when he sees one.Moore begins with the question of Nietzsche's Darwinism, focusing on the physiology of power to explore the relations between Darwin, Spencer, Lamarck, and Rolph, but also Nietzsche's favorites, Malthus and Lange, etc. The discussion of the history of the reception of Darwin's ideas is careful and extensive and offers an insightful clarification of Darwin (necessary to distinguish Darwin from Darwinism, "social" and otherwise). Some readers will find it even more Anglophone than seems justified by Darwin's heritage, despite Moore's passing references to Cuvier and (at rather greater length) Haeckel and Roux.This reviewer notes that the latter references have been well-discussed in the German literature and to some great part Moore is fair to this tradition even if it is also true that the discussion never enters the level of the history of science as this reader, for one, might have wished. In the case of Moore's interpretation of Nietzsche's texts, the readings sometimes suggest a reprise of what has come to be the consensus (and not just among Nietzsche scholars) of views on Nietzsche's thinking. Thus where certain secondary authors are in force in Moore's well-documented account (Pick, Moles, and Ruse), others are missing. Indeed, in the case of Nietzsche and Darwinism, Frederick Gregory's Nature Lost? Natural Science and the German Theological Traditions of the Nineteenth Century (Cambridge, 1992) offers an important supplement. Another book that seems to have been overlooked is Timothy Lenoir, The Strategy of Life: Teleology and Mechanics in Nineteenth Century German Biology (Dordrecht, 1982), and those interested in von Baer and other proponents of teleology in biology will find Lenoir's broader account useful.The second half of the book addresses degeneration and like most contemporary discussions, Moore's book is charged with the political history of the last century. Moore reviews the association of decadence with jazz music and—via physiognomy as its external signifier—to the ugly, the Jew, the Black, and, of course, to women who broke with the family role. As an instantiation, Moore uncovers the nineteenth century antipathy to "allegedly aberrant behavior such as masturbation and homosexuality" in Nietzsche's "restrictive" [End Page 348] (133) view of sexuality and precocious eroticism (134) as degeneration. However, the issue of masturbation is complicated. The nineteenth-century perspective on masturbation was less a matter of prudishness than a judgment backed with considerable social and medical force, which equated the practice with sickness or criminality, the counterpart to which today would be our judgment with regard to an addiction to cocaine or heroine. This censure drove Wagner's "exposure" of Nietzsche's personal dependence on this practice. Readers interested in this question can either take themselves to the easy-to-find because eponymous chapter in Marc Wiener's Richard Wagner and the Anti-Semitic Imagination (Lincoln, 1995) or to David B. Allison's account of this as the occasion for the break between Nietzsche and Wagner in Reading... (shrink)

[Eve] Sedgwick examines from an explicitly feminist, implicitly Marxist perspective the relation of homosexuality to more general social bonds between members of the same sex . She argues that the similarity between homosocial desire and homosexuality lies at the root of much homophobia. Moreover, she sees this tension as misogynist to the extent that battles fought over patriarchy within the homosocial world automatically exclude women from that patriarchal power. Thus she places homosexuality and its attendant homophobia within (...) a wider dynamic of social relationships.1Yet even as Sedgwick invents a more sophisticated definition of “homophobia,” she may permit misreading of a more elementary sort. Her use of vocabulary is troubling. In a slangy prose that regularly juxtaposes James Hogg and Louis Lepke, Tennyson and Howard Keel, references to the “campiness” of Thackeray’s “bitchy” bachelors or the “feminized” cuckolds of Wycherley’s The Country Wife seem tame enough. Yet there is a political difference between the jokes. One can burlesque fifties musicals or organized crime with impunity; to refer to sexually embattled men with feminine adjectives, however, is to reinforce a sexual stereotype that sees in the supposed effeminacy of homosexuals a sign of their deviance. Nor are women empowered when terms of female degradation like “bitch” are turned back against men: the ironic reversal does not challenge the terms’ validity but reaffirms it, showing they have an even wider range of applicability than had been thought. 1. Throughout my analysis, I use “homosexual” and “gay” exclusively in reference to male sexuality. I do so in part to echo Sedgwick’s emphasis and in part because the logic of my own argument does not empower me to speak on female homosexuality. David Van Leer is associate professor of English and American literature at the University of California, Davis. He is the author of Emerson’s Epistemology: The Argument of the Essays and articles on American literature and popular culture. (shrink)

Like Alice following the white rabbit into a topsy-turvy world where the laws of logic don't apply, subversive thinking unearths the mysteries behind the mundane. Tracking the White Rabbit is a fascinating, original work that invites us to use depth psychology to challenge our deepest assumptions about world politics, theology, social norms, everyday speech, and usual ideas of sex and emotion. Raised in an environment of McCarthyism and rock-and-roll, Jungian analyst Lyn Cowan shows readers-through provocative essays on memory and (...) class='Hi'>homosexuality, music and the art of cursing-that we can flip our ingrained attitudes on their heads and achieve a better understanding of our cultural landscape. America has been plagued by a flattening of its psychic life, Cowan argues, exhibited in the escalating need for external stimulation and the distrust of intense emotion. With humor and insight, she confronts the "isms" that entrap our imaginations (capitalism, fundamentalism, feminism, sexism, antisemitism, communism) in order to unearth a more soul-serving culture. Encouraging us to mine the creativity of spontaneous imagination, this psychology brings dramatic new ideas and themes into focus, breaking down barriers and yielding fresh perspectives on some of the more pressing individual dilemmas of our time: abortion, gender, language, homosexuality, and victimization. (shrink)

Politics, Philosophy, Culture contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.

____Politics, Philosophy, Culture__ contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.

Rymarz, Richard Review of: Homosexuality and following Jesus, by Paul Flaman,, ISBN 9781926645780, pp.181, pb; The plot to kill god: Findings from the soviet experiment in secularization, by Paul Froese, ISBN 9780520255289, pp.248, pb.

That a homosexual -- man or woman -- is neither a sinner nor a sick person is the thesis of this paper by an authority on sexual deviation. Therefore, such a man or woman neither needs penance and pardon nor cure in the medical sense. Nevertheless such individuals sometimes need the help of doctors and must be treated with understanding. The medical profession also has, in the view of the behaviourist school of psychiatrists, of which Dr Bancroft is a member, (...) the duty of influencing social attitudes towards homosexuals. Obviously homosexuals who come into conflict with the law are special cases, and must be treated as such but this is not 'medical' treatment so much as social control even if drugs and other forms of therapy are used. (shrink)

I examine the new analysis of gay community and liberation offered by Dennis Altman in The Homosexualization of America. Three distinctive theoretical constructs are analyzed and criticized: (1) a new view of psychosocial development; (2) a new concept of gay identity; and (3) A set of causal hypotheses designed to explain the new direction of the gay subculture.

People who notice details might have observed I would like to take this point further to suggest that the description of this panel that appears on the that the terms communities of faith and people of Ten Percent Society literature is different than the faith are inapplicable in the Christian or any other one included on the Philosophy and Religion religious context as well. One does not have faith in Colloquium announcements. This is intentional; I..

The role of Alfred Kinsey, America's most influential sexologist, in the cultural revolution of sex and gender during the past fifty years remains as unquestionable as it has been controversial. This admiring biography argues that Kinsey also qualifies as an authentic great man of science in the tradition of Darwin. Kinsey's expert authority was recently challenged by James Jones, who claimed in his 1997 biography that Kinsey's terrible personal secrets—homosexuality and masochism—plagued his life and ruined his science. Jonathan Gathorne‐Hardy (...) sets out to repair Kinsey's reputation by defending him against this “Kenneth Starr school of biography” . The author seeks to rescue Kinsey's achievement from the stigmatizing charge that it was flawed because it subordinated science to subjectivity.Gathorne‐Hardy emphasizes Kinsey's methodological creativity and his interviewing genius. During his early career, when he worked on gall wasps, Kinsey's science developed as a practice of scrupulous collection, observation, and documentation. Even in graduate school, he was dubbed “get a million Kinsey,” and his belief in sheer quantity—as well as quantification—was just as apparent when he turned his attention to human sexuality. In 1938 Kinsey taught a course on marriage at Indiana University, where he spent his entire working life. Limited to married or engaged students and faculty, the course covered reproductive physiology, contraception, and a host of other sexual topics in explicit detail. Kinsey also used the course to gather data about his students' sex lives. The thousands of sexual histories collected at the Institute for Sex Research in later years—7,985 by Kinsey alone—attest to his scientific commitment to behavior as the only legitimate basis for a science of sex.The behavioral unit of analysis chosen by Kinsey was the orgasm—or “outlet,” as Kinsey called it. Because it was countable, the theory went, it was objective. Kinsey's ethic of measurement resulted in interviews involving at least 350 standard questions, whose answers were recorded in a custom code designed to fit on a single sheet of paper divided into 287 squares. Among the ironies of Kinsey's method was the fact that his sex histories measured linguistic rather than sexual behavior. What Kinsey actually compiled was a huge cache of stories, not direct observations of sexual behavior. Kinsey, who gathered more sexual stories than any other person alive, systematically aimed to eradicate all quirks and complexities in order to produce a statistical portrait of population‐wide behavior. Meanings might be historically important, but numbers, not narratives, would yield truth. The easy use of “human males” and “human females” in the titles of Kinsey's famous reports suggests how universal his scientific claims were—and also how devoid of temporal and cultural particularity.The resulting conception of human sexual nature is probably best represented in Kinsey's six‐point scale, where behavioral possibilities ranged from exclusively homosexual at one pole to exclusively heterosexual at the other. Diversity emerged as the premier fact about sexual behavior. While this placed men and women uncomfortably close to their primate cousins on an evolutionary map, making human sexual exceptionalism objectively unsustainable, it also produced a reformist sensibility that rooted its demand for toleration in the powerful evidence of natural facts. It is difficult to overstate how shocking Kinsey's picture of polymorphous sexuality was in a culture devoted to either/or binaries and prone to harsh judgments about deviation from norms. Kinsey's contribution was to point out the gap between ideology and behavior . That lots of people did lots of things at odds with professed sexual morality was, for some, a welcome relief and call to revolution. For others, it was a reason to hate Kinsey and blame him for changes in the realm of gender and sexuality already well under way by midcentury.No biographies can save scientific heroes from the fatal charge that their methods and findings were bound up in their lives, or they would not be biographies worth reading. This attests to the stubborn endurance of the psychoanalytic paradigm. Kinsey despised Freud for passing off philosophy as science. Yet because of the conventions of post‐Freudian biography, Gathorne‐Hardy must explore exactly those dimensions of Kinsey's life and character that Freud embraced but that Kinsey himself would never have admitted into the precincts of science. His childhood illnesses and struggles with an overbearing father, his rage against religion, fondness for music, charismatic yet autocratic style, and his own anguished sexuality are keys to puzzling out not only a life in science, but a life.Gathorne‐Hardy can hardly ignore evidence that Kinsey's own sexual appetites were diverse—“bisexual” is this author's preferred designation—or that his enterprise in sex research involved experimentation: the mostly married male members of Kinsey's team were expected to engage in sexual activities with one another and one another's wives. Kinsey's wife Clara was a confidant and supporter from the start. Their loving marriage was also an open marriage. Mac was a participant‐observer in the world of sex research. She had a series of affairs with Kinsey's colleagues and even changed the bedsheets during energetic sessions of sexual cinematography that took place in the attic of their home. Yet the Kinseys also shielded their children from their own unorthodox sexual practices.This biography concludes by suggesting that Kinsey died tragically in 1957, convinced that his enemies had the upper hand. Kinsey was wrong. The diversity he championed has become a theoretical staple in the human and life sciences as well as a practical goal in social policies related to gender, race, and sexuality. However unfinished it may be, it is difficult to imagine Kinsey's revolution being reversed in either science or society. (shrink)

Analyzes the meaning expressed in music, the social and psychological sources of meaning, and the methods of musical communication This is a book meant for ...

"The scholarship of Michael Spitzer's new book is impressive and thorough. The writing is impeccable and the coverage extensive. The book treats the history of the use of metaphor in the field of classical music. It also covers a substantial part of the philosophical literature. The book treats the topic of metaphor in a new and extremely convincing manner."-Lydia Goehr, Columbia University The experience of music is an abstract and elusive one, enough so that we're often forced to (...) describe it using analogies to other forms and sensations: we say that music moves or rises like a physical form that it contains the imagery of paintings or the grammar of language. In these and countless other ways, our discussions of music take the form of metaphor, attempting to describe music's abstractions by referencing more concrete and familiar experiences. Michael Spitzer's Metaphor and Musical Thought uses this process to create a unique and insightful history of our relationship with music--the first ever book-length study of musical metaphor in any language. Treating issues of language, aesthetics, semiotics, and cognition, Spitzer offers an evaluation, a comprehensive history, and an original theory of the ways our cultural values have informed the metaphors we use to address music. And as he brings these discussions to bear on specific works of music and follows them through current debates on how music's meaning might be considered, what emerges is a clear and engaging guide to both the philosophy of musical thought and the history of musical analysis, from the seventeenth century to the present day. Spitzer writes engagingly for students of philosophy and aesthetics, as well as for music theorists and historians. (shrink)

In this paper, I will present an analogy between Leibniz’s Monadology and musical works. A musical work is usually written down in a score. It is divided into many voice parts, and for every part, it gives all musical information necessary for performance. Now, since any such score specifies all notes of that musical work, at once, it can be regarded as atemporal; musical time does not flow in a score. And it does not specify spatial relations among the voice (...) parts. Thus, the musical work described in a score exists as an informational entity. A score is a kind of “program” for playing. This program contains invariant structures, and such structures define the identity of the work. On the other hand, it allows freedom for performers. Any performer has to “interpret” the work, and his or her performance is an expression of that interpretation. Any such interpretation may be regarded as a kind of “coding” for transforming the specified invariant structures into actual sounds in space and time. This dual aspect of musical works is the basis of my analogy. It should be conducive to improving our interpretation of Monadology. (shrink)

이 논문은 데카르트의 『음악입문』(Compendium Musicae)에서 대상(objectum)의 개념을 근대성의 관점에서 분석한 연구이다. 데카르트가 근대적 주체의 이념을 선구적으로 제시한 철학자라는 것은 일반적으로 받아들여지고 있으나 그가 근대적 의미에서 대상의 개념을 처음으로 제시한 철학자인지 어떤지는 그렇게 분명치는 않다. 하지만 철학자이면서 음악학자였던 요한네스 로만은 데카르트의 『음악입문』에서 근대적 대상의 개념이 처음으로 등장한다고 주장한다. 그러나 그는 자신의 주장에 대해 아무런 근거도 제시하지 않았다. 이 논문은 먼저 로만의 주장을 제시하고 그 타당성을 검토하기 위해 토마스 아퀴나스에게서 학문의 주제와 능력의 대상의 구별을 살펴보고 그것이 후기 중세에서 근대에 이르는 과정에서 어떻게 (...) 변화되어 왔는지를 살펴본다. 그런 뒤에 음악 자체의 변화로 눈길을 돌려 차를리노에서부터 데카르트 직전의 칼비시우스에 이르기까지 음악의 주제가 변해온 과정을 살펴본다. 그리고 『음악입문』에서 데카르트가 대상 개념을 사용하는 용례를 검토한 뒤에 최종적으로 데카르트가 이 저작에서 새로운 대상 개념을 사용하기 시작하면서 고대와 중세에 자명하게 받아들여진 존재의 지평을 넘어서는 대상의 지평을 새롭게 제시했음을 밝힌다. (shrink)

This is a long-awaited reissue of Jerrold Levinson's 1990 book which gathers together the writings that made him a leading figure in contemporary aesthetics. These highly influential essays are essential reading for debates on the definition of art, the ontology of art, emotional response to art, expression in art, and the nature of art forms.

Consolatio Philosophiae, unquestionably one of the most influential works in the development of medieval thought, presents an incredible richness in terms of occult dimensions. This paper analyses the position which poetry and music assume, showing that they play a central role not only in this work, but also in his philosophical production as a whole.

Drawing on my previous paper “Monadology and Music”, I will further pursue the analogy between Monadology and music. I wish to emphasize that good examples of “pre-established harmony” can be extracted from this analogy. Also, a good illustration of “Leibniz’s Demon” can be obtained. This Demon is such that it can tell, given a piece of matter, the whole history of the world, past, present, and future. In terms of finite examples of musical pieces and their performances, Leibniz’s (...) point of this Demon can be better understood. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, (...) I argue for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

Contents.--The theme.--What is music?--Music in nature.--Wherefore?--Law in music.--Correlations of music.--The beautifier of time.--The power of music.--Musico-therapy.--Design in design.--The altruistic art.--The social art.--The religious art.--Music and immortality.--The God of music.

"Without music, life would be an error."—Friedrich Nietzsche In his youth, Friedrich Nietzsche yearned to become a great composer and wrote many pieces of music. He later claimed to be "the most musical of all philosophers." Yet most books on Nietzsche fail to explore the importance of music for his thought. _Nietzsche and Music_ provides the first in-depth examination of the fundamental significance of music for Nietzsche's life and work. Nietzsche's views on music are essential (...) for understanding his philosophy as a whole. Part biography and part critical examination, Georges Liébert brilliantly demonstrates that despite failed attempts at a professional career as composer, Nietzsche never fully removed himself from the world of music, but instead, became a composer of philosophy, utilizing the musical form as a template for his own writings and creative thought. Liébert's study surveys Nietzsche's opinions about particular composers and compositions, as well as his more theoretical writings on music and its relation to the other arts. He also explores Nietzsche's listening habits, his playing and style of composition, and his many contacts in the musical world, including his controversial and contentious relationship with Richard Wagner. For Nietzsche, music gave access to a realm of wisdom that transcended thought. Music was Nietzsche's great solace; in his last years, it was his refuge from madness. A virtuoso exploration of this little-known but crucial aspect of Nietzsche's life and work, this volume will be of enormous value to scholars of philosophy, music, aesthetics, and literature. (shrink)

I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...) of a general problem raised by artifacts, both abstract and concrete. I argue that on at least one defensible account of music the tension is especially problematic for abstracta. I focus on musical works, but much of the paper straightforwardly applies to other kinds of abstract artifacts. (shrink)

Since March 14, 2020, Spanish citizens have been confined to their homes due to the impact of the COVID-19 pandemic. Participating in musical activities has been associated with reduced anxiety and increased subjective wellbeing. The aim of this study is to analyze how Spanish citizens used music during the lockdown period. We also study perceptions of the impact music has in everyday life, in particular examining the respondents’ insights into the effects of listening to music in situations (...) of isolation. The study was conducted using the MUSIVID19 questionnaire administered to a total of 1868 Spanish citizens. The results indicate that during lockdown, respondents perceived an increase in the time they devoted to musical activities such as listening, singing, dancing or playing an instrument. The participants also reported using music to cope with the lockdown, finding that it helped them to relax, escape, raise their mood or keep them company. The findings suggest an improvement in their perception of the value of music in personal and social wellbeing during the lockdown. However, the study reveals significant differences in the use and perceptions of music according to respondents’ personal situations. Age and feelings of vulnerability may lead to more conservative uses of musical practice and to more moderate perceptions of the positive values of music. (shrink)

Like his contemporary, Edward Weston, Ansel Adams claimed that visualization is essential for creating fine art photography. But, unlike Weston, he believed that a print from a negative is like a performance from a score. In his analogy, a photographer’s visualization is like a musician’s composition: once it has been set down in a ‘score’, it can be expressively rendered by different performers, making it possible to create and critically appreciate ‘performances’ with different qualities. I argue that this music-photography (...) analogy makes Adams’s conception of photographic visualization more fruitful than Weston’s alternative. However, while I agree with Adams that a print is analogous to a performance, I criticize his idea that a negative is like a score. I argue that he holds a traditional, single-stage conception of photography, which led him to overlook a key distinction between undeveloped film and the developed negative. The multi-stage account of photography that I defend not only remedies this problem but also shows how Adams’s proposal can be fully realized in digital photography. Most significantly, it invites theorists and practitioners to expand the music-photography analogy by considering wider varieties of music—not only performances from a score. (shrink)

On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks. The authors discuss genres as diverse as mainstream pop, hip hop, classic rock, instrumental synthwave, video game music, amateur ukelele groups, and audiovisual remixes, while also considering the music’s relationship to technological developments, various media and materials, and personal and social identity. The collection presents a range of (...) different methodologies and theoretical positions, which results in an eclecticism that aptly demonstrates the breadth of contemporary popular music research. The chapters are divided into three major sections that address: wider theoretical and analytical issues, familiar repertoire or concepts from a new perspective, and the meanings to arise from music’s connections with other media forms. (shrink)

Metaphysics and Music in Adorno and Heidegger explains how two notoriously opposed German philosophers share a rethinking of the possibility of metaphysics via notions of music and waiting. This is connected to the historical materialist project of social change by way of the radical Italian composer Luigi Nono.