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The Aesthetics of Music

Roger Scruton

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Paperback

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Clarendon Press
01 June 1999
Theory of music & musicology; Philosophy; Philosophy: aesthetics
Now available in paperback, this is perhaps the first comprehensive account of the nature and significance of music from the perspective of modern philosophy, and the only treatment of the subject which is properly illustrated with music examples. The book starts from the metaphysics of sound, distinguishes sound from tone, analyses rhythm, melody, and harmony, and develops a novel account of music, as the intentional object of an imaginative perception. The argument explores the various dimensions of musical organization and musical meaning, and shows exactly how and why music is an expressive medium. The Aesthetics of Music explains and criticizes many fashionable theories in the philosophy and theory of music, and mounts a case for the moral significance of music, its place in our culture, and the need for taste and discrimination in both performer and listener. The various schools of musical analysis are subjected to a critical examination, and recent criticism of tonality, as the foundation of musical order, are rehearsed and rejected. Scruton defends the objectivity of aesthetic values, lays down principles of criticism, and ends with an energetic critique of modern popular music.
By:   Roger Scruton
Imprint:   Clarendon Press
Country of Publication:   United Kingdom
Dimensions:   Height: 234mm,  Width: 155mm,  Spine: 29mm
Weight:   811g
ISBN:   9780198167273
ISBN 10:   019816727X
Pages:   560
Publication Date:   01 June 1999
Audience:   Professional and scholarly ,  Undergraduate
Format:   Paperback
Publisher's Status:   Active

Roger Scruton is a leading authority on aesthetics, but has also published books on other aspects of philosophy, politics, literature, architecture, and modern culture. Currently a freelance writer and composer, he was previously Professor of Philosophy at Boston University.

Reviews for The Aesthetics of Music

A formidably gifted philosopher, he here combines analytical rigour with a daunting knowledge of the repertoire as a performer and occasional composer, to ask the most fundamental questions about what music is and what our capacity to enjoy it tells us about the human condition. This is a rich and rewarding study, and I doubt whether anyone could have done it better. * Jonathan Sachs, The Times *


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