Platonism, music and the listener's share / Christopher Norris.

By:

Norris, Christopher, 1947-

Material type: Text

TextSeries: Continuum studies in philosophyPublication details: London : Continuum, 2006.Description: 1 online resource (202 pages)Content type:

text

Media type:

computer

Carrier type:

online resource

ISBN:

9781847144386
1847144381
9781472597977
1472597974

Subject(s):

Genre/Form:

Additional physical formats: Print version:: Platonism, music and the listener's share.DDC classification:

781.1/7 22

LOC classification:

ML3845 .N72 2006eb

Online resources:

Click here to access online

Contents:

Introduction and Acknowledgements; 1 Platonism, Music and the 'Listener's Share'; 2 On Knowing What We Like: 'Best Opinion' and Evaluative Warrant; 3 What's In a Work? Music, Ontology and the 'Deconstructive Turn'; 4 Between Phenomenology and Structuralism: Alternative Resources for Music Theory; 5 Music, Pleasure and the Claims of Analysis; Notes; Index of Names.

Summary: What is a musical work? What are its identity-conditions and the standards (if any) that they set for a competent, intelligent, and musically perceptive act of performance or audition? Should the work-concept henceforth be dissolved as some New Musicologists would have it into the various, ever-changing socio-cultural or ideological contexts that make up its reception-history to date? Can music be thought of as possessing certain attributes, structural features, or intrinsically valuable qualities that are response-transcendent, i.e., that might always elude or surpass the best state of (curre.

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Electronic-Books	OPJGU Sonepat- Campus	E-Books EBSCO			Available

Includes bibliographical references and index.

What is a musical work? What are its identity-conditions and the standards (if any) that they set for a competent, intelligent, and musically perceptive act of performance or audition? Should the work-concept henceforth be dissolved as some New Musicologists would have it into the various, ever-changing socio-cultural or ideological contexts that make up its reception-history to date? Can music be thought of as possessing certain attributes, structural features, or intrinsically valuable qualities that are response-transcendent, i.e., that might always elude or surpass the best state of (curre.

Print version record.

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