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78.01 "17" --- Muziekfilosofie. Muziekesthetiek--18e eeuw. Periode 1700-1799 --- 78.01 "17" Muziekfilosofie. Muziekesthetiek--18e eeuw. Periode 1700-1799 --- Musiciens allemands --- Siecle des lumieres --- 18e siecle

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Music --- Musique --- Philosophy and aesthetics. --- Philosophie et esthétique --- Hanslick, Eduard, --- Philosophie et esthétique --- Muziekwetenschappen --- Muziekfilosofie --- 19e eeuw --- 20e eeuw

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Music --- muzieksociologie --- Sociology of culture --- Huldeboeken --- Musique --- Muziek --- Mélanges --- Wangermée, R. --- Social aspects --- Aspect social --- Wangermée, Robert --- History and criticism --- Wagermée, Robert --- 78.01 --- -Music --- -Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Muziekfilosofie. Muziekesthetiek --- Wagermee, Robert --- Festschrift - Libri Amicorum --- History and criticism. --- Social aspects. --- -Muziekfilosofie. Muziekesthetiek --- 78.01 Muziekfilosofie. Muziekesthetiek --- -78.01 Muziekfilosofie. Muziekesthetiek --- Art music --- Wangermée, Robert --- Music and society --- Criticism --- Wagermée, Robert. --- Addresses, essays, lectures --- 78.15 Wangermée --- Music - History and criticism --- Music - Social aspects --- Wangermée, Robert (1920-2019) --- Muziekwetenschappen --- Essays --- Sociologie --- 20e eeuw --- België --- Socilogie de l'art

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This book is born out of two contradictions: first, it explores the making of meaning in a musical form that was made to lose its meaning at the turn of the nineteenth century; secondly, it is a history of a music that claims to have no history - absolute music. The book therefore writes against that notion of absolute music which tends to be the paradigm for most musicological and analytical studies. It is concerned not so much with what music is, but with why and how meaning is constructed in instrumental music and what structures of knowledge need to be in place for such meaning to exist. From the thought of Vincenzo Galilei to that of Theodore Adorno, Daniel Chua suggests that instrumental music has always been a critical and negative force in modernity, even with its nineteenth-century apotheosis as 'absolute music'.

Music --- Absolute music --- Absolute muziek --- Musique absolue --- Absolute music. --- Musique pure --- Musique --- Philosophy and aesthetics --- Philosophie et esthétique --- Philosophy and aesthetics. --- Hermeneutics (Music) --- Musical aesthetics --- Aesthetics --- Music theory --- Abstract music --- Philosophy --- Muziekfilosofie --- Muziekesthetica

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This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a rich tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform.

Improvisation (Music). --- Music --- Philosophy and aesthetics. --- Improvisation (Music) --- Hermeneutics (Music) --- Musical aesthetics --- Extemporization (Music) --- Philosophy and aesthetics --- Aesthetics --- Philosophy --- 78.81 --- Music theory --- Performance --- Arts and Humanities --- 575 --- Muziekfilosofie