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OverviewThis volume presents a new collection of essays, all of them dealing with music, by Jerrold Levinson, one of the most prominent philosophers of art today. It follows in the line of Levinson's earlier collections, Music, Art, and Metaphysics (1990), The Pleasures of Aesthetics (1996), and Contemplating Art (2006), and is representative of the most stimulating work being done under the rubric of analytic aesthetics. The essays, which are wide-ranging, should appeal to aestheticians, philosophers, musicologists, music theorists, music critics and music lovers of all kinds. Three of the twelve essays comprising the volume have not previously been published, and in somewhat of a departure for Levinson, four of the essays focus on music in the jazz tradition. Full Product DetailsAuthor: Jerrold Levinson (University of Maryland)Publisher: Oxford University Press Imprint: Oxford University Press Dimensions: Width: 14.80cm , Height: 1.90cm , Length: 22.00cm Weight: 0.362kg ISBN: 9780199669660ISBN 10: 019966966 Pages: 192 Publication Date: 02 April 2015 Audience: College/higher education , Professional and scholarly , Tertiary & Higher Education , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: To order  Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of ContentsAcknowledgments Introduction 1: Philosophy and Music 2: The Aesthetic Appreciation of Music 3: Concatenationism, Architectonicism, and the Appreciation of Music 4: Indication, Abstraction, and Individuation 5: Musical Beauty 6: Values of Music 7: Shame in General and Shame in Music 8: Jazz Vocal Interpretation: A Philosophical Analysis 9: Popular Song as Moral Microcosm: Life Lessons from Jazz Standards 10: The Expressive Specificity of Jazz 11: Instrumentation and Improvisation 12: with Philip Alperson: What Is a Temporal Art? IndexReviewsPerhaps the most important attribute of this book to observe is that Levinson is an impressively clear writer. He has a strong preference for a plain-speaking style; and, when he ventures into obscure areas, he tends to be excellent at shining just the right amount of light to allow the reader to negotiate the unfamiliarity. Equally important is that Musical Concerns can be read without having to draw upon the earlier volumes as sources of prerequisite knowledge. Each of the twelve essays in this book is firmly situated in the present, and references to past work are always given due background explanation. Stephen Smoliar, Examiner.com Levinson has written so many important essays in aesthetics and his reputation is so secure - he is well established as one of our leading philosophers of art - that any new book from him merits attention ... it is refreshing to find multiple essays discussing songs and singing instead of composed works in the classical tradition. The value for newcomers to Levinson's work - or even newcomers to philosophy of music or to philosophy of art - is that it is organized so that the initial chapters consist of clear, straightforward exposition of his views on the nature of music appreciation, the value of music, and the nature of musical works. Theodore Gracyk, Notre Dame Philosophical Reviews Online This volume is a handsome collection of Jerrold Levinson's latest concerns about philosophy and music. John M. Carvalho, British Journal of Aesthetics Perhaps the most important attribute of this book to observe is that Levinson is an impressively clear writer. He has a strong preference for a plain-speaking style; and, when he ventures into obscure areas, he tends to be excellent at shining just the right amount of light to allow the reader to negotiate the unfamiliarity. Equally important is that Musical Concerns can be read without having to draw upon the earlier volumes as sources of prerequisite knowledge. Each of the twelve essays in this book is firmly situated in the present, and references to past work are always given due background explanation. Stephen Smoliar, Examiner.com Levinson has written so many important essays in aesthetics and his reputation is so secure - he is well established as one of our leading philosophers of art - that any new book from him merits attention ... it is refreshing to find multiple essays discussing songs and singing instead of composed works in the classical tradition. The value for newcomers to Levinson's work - or even newcomers to philosophy of music or to philosophy of art - is that it is organized so that the initial chapters consist of clear, straightforward exposition of his views on the nature of music appreciation, the value of music, and the nature of musical works. Theodore Gracyk, Notre Dame Philosophical Reviews Online Levinson has written so many important essays in aesthetics and his reputation is so secure - he is well established as one of our leading philosophers of art - that any new book from him merits attention ... it is refreshing to find multiple essays discussing songs and singing instead of composed works in the classical tradition. The value for newcomers to Levinson's work - or even newcomers to philosophy of music or to philosophy of art - is that it is organized so that the initial chapters consist of clear, straightforward exposition of his views on the nature of music appreciation, the value of music, and the nature of musical works. Theodore Gracyk, Notre Dame Philosophical Reviews Online Author InformationJerrold Levinson is Distinguished University Professor of Philosophy at the University of Maryland and past president of the American Society for Aesthetics, 2001-2003. He is the author of three collections of essays, Music, Art, and Metaphysics (Cornell University Press, 1990; 2nd edn OUP, 2010), The Pleasures of Aesthetics (Cornell University Press, 1996), and Contemplating Art (OUP, 2006); a monograph, Music in the Moment (Cornell University Press, 1998); the editor of Aesthetics and Ethics (CUP, 1998), Oxford Handbook of Aesthetics (OUP, 2003), and Suffering Art Gladly (Palgrave/Macmillan, 2013); and co-editor of Aesthetic Concepts (OUP, 2001) and Art and Pornography (OUP, 2012). Tab Content 6Author Website:Countries AvailableAll regions |
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