Music philosophy school
The Music Philosophy School is both a school of thought and an institution. The school proposes that the Philosophy of Music is key to understanding and even enjoying musical composition and performance. Notable adherents include Wilhelm Heinrich Wackenroder, Ludwig Tieck and E. T. A. Hoffmann.
Tenets of the Music Philosophy School[edit]
The most significant departure of the Music Philosophy School is the claim that music is a sub-discipline of philosophy, in the same way that aesthetics is. In the last century, the likes of Peter Kivy and Jerrold Levinson made great contributions to the philosophy of music, but musicians themselves, focussing on composition, performance or theory, did not. This differed from the 19th century, where musicians such as Richard Wagner held their own against the likes of Eduard Hanslick. The Music Philosophy School demands a return to the ascendancy of musicians as the guardians of musical philosophy, but at the same time insist that no musician can be anything but a philosopher.
The question then arises - what type of philosopher is a musician? The question is answered obliquely thus: "the world is a vast fluctuating omenscape, and the poet is the omenreader of the world." [1]. The "poet" here stands for the musician.
History[edit]
There has been a strong tendency in the aesthetics of music to emphasize the paramount importance of compositional structure; however, other issues concerning the aesthetics of music include lyricism, harmony, hypnotism, emotiveness, temporal dynamics, resonance, playfulness, and color (see also musical development).
Plato suggests in the Republic that music has a direct effect on the soul. Therefore, he proposes that in the ideal regime music would be closely regulated by the state (Book VII).
Practical application and controversies[edit]
The Music Philosophy School is occasionally attacked as a philosophie fausse, since onomastically it appears to be an alternative name for the philosophy of music. Its adherents claim that it is a movement with the word "philosophy" in its name.
The principles of the school have been applied to music throughout the ages, including Ancient Greek music right up to Girls Aloud. In one of the girl-group's songs, a debate ensued as to whether retro proto-feminist satire was present; the Music Philosophy School requested its member Martha Nussbaum to investigate and confirmed that while it was, it was not the central theme (which was, according to the school, interpretation by Xenomania of Hungarian folklore. This seemed abstruse at the time but was accepted by Girls Aloud.
Further reading[edit]
- Barzun, Jacques. 1982. Critical Questions on Music and Letters, Culture and Biography, 1940–1980, selected, edited, and introduced by Bea Friedland. Chicago: University of Chicago Press. ISBN 0-226-03863-7 Search this book on
.. - Beardsley, Monroe C. 1958. Aesthetics: Problems in the Philosophy of Criticism. New York, Harcourt, Brace.
- Rowell, Lewis Eugene. 1983. Thinking about Music: An Introduction to the Philosophy of Music. Amherst: University of Massachusetts Press. ISBN 0870233866 Search this book on ..
- Scruton, Roger. The Aesthetics of Music, Oxford University Press, 1997.
References[edit]
External links[edit]
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