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Fiddled out of Reason examines Addison's poetic oeuvre in context of the nondevotional hymn, an underexplored genre of eighteenth-century verse. It concentrates on poems such as Addison's Cecilian odes, Rosamond, and five hymnic works for The Spectator, as well as Dryden's “Song for St Cecilia's Day” and “Alexander's Feast” and Pope's “Messiah.”
Fiddled out of Reason examines Addison's poetic oeuvre in context of the nondevotional hymn, an underexplored genre of eighteenth-century verse. It concentrates on poems such as Addison's Cecilian odes, Rosamond, and five hymnic works for The Spectator, as well as Dryden's "So...
Author : Richard D. Leppert Publisher : Univ of California Press Page : 346 pages File Size : 49,7 Mb Release : 1993 Category : History ISBN : 9780520203426
"[Leppert's] originality is immensely encouraging to those of us who are convinced that musicology is undergoing a paradigmatic change."—Derek B. Scott, author of The Singing Bourgeois "A wonderfully stimulating book. . . . Will be of great importance to musicologists and students of culture generally."—Ruth Solie, editor of Musicology and Difference
Abraham Cowley (1618-1667) by Michael Edson,Cedric D. Reverand II Pdf
When Cowley died, he was the most famous poet in England. His popularity continued throughout the eighteenth century. Yet Cowley has virtually disappeared from the canon today, even from metaphysical poetry collections, although it was Cowley who occasioned Samuel Johnson’s famous definition of metaphysical poetry. This book considers the circumstances behind Cowley’s falling out of the canon and what he might offer future generations of readers discovering his poetry anew.
Author : Cornelia Wilde,Wolfram R. Keller Publisher : Walter de Gruyter GmbH & Co KG Page : 295 pages File Size : 44,8 Mb Release : 2021-05-10 Category : Music ISBN : 9783110422139
Perfect Harmony and Melting Strains by Cornelia Wilde,Wolfram R. Keller Pdf
Perfect Harmony and Melting Strains assembles interdisciplinary essays investigating concepts of harmony during a transitional period, in which the Pythagorean notion of a harmoniously ordered cosmos competed with and was transformed by new theories about sound - and new ways of conceptualizing the world. From the perspectives of philosophy, literary scholarship, and musicology, the contributions consider music's ambivalent position between mathematical abstraction and sensibility, between the metaphysics of harmony and the physics of sound. Essays examine the late medieval and early modern history of ideas concerning the nature of music and cosmic harmony, and trace their transformations in early modern musico-literary discourses. Within this framework, essays further offer original readings of important philosophical, literary, and musicological works. This interdisciplinary volume brings into focus the transformation of a predominant Renaissance worldview and of music's scientific, theological, literary, as well as cultural conceptions and functions in the early modern period, and will be of interest to scholars of the classics, philosophy, musicology, as well as literary and cultural studies.
What is music, and why does it move us? From Pythagoras to the present, writers have struggled to isolate the essence of "pure" or "absolute" music in ways that also account for its profound effect. In Absolute Music: The History of an Idea, Mark Evan Bonds traces the history of these efforts across more than two millennia, paying special attention to the relationship between music's essence and its qualities of form, expression, beauty, autonomy, as well as its perceived capacity to disclose philosophical truths. The core of this book focuses on the period between 1850 and 1945. Although the idea of pure music is as old as antiquity, the term "absolute music" is itself relatively recent. It was Richard Wagner who coined the term, in 1846, and he used it as a pejorative in his efforts to expose the limitations of purely instrumental music. For Wagner, music that was "absolute" was isolated, detached from the world, sterile. His contemporary, the Viennese critic Eduard Hanslick, embraced this quality of isolation as a guarantor of purity. Only pure, absolute music, he argued, could realize the highest potential of the art. Bonds reveals how and why perceptions of absolute music changed so radically between the 1850s and 1920s. When it first appeared, "absolute music" was a new term applied to old music, but by the early decades of the twentieth century, it had become-paradoxically--an old term associated with the new music of modernists like Schoenberg and Stravinsky. Bonds argues that the key developments in this shift lay not in discourse about music but rather the visual arts. The growing prestige of abstraction and form in painting at the turn of the twentieth century-line and color, as opposed to object-helped move the idea of purely abstract, absolute music to the cutting edge of musical modernism. By carefully tracing the evolution of absolute music from Ancient Greece through the Middle Ages to the twentieth-century, Bonds not only provides the first comprehensive history of this pivotal concept but also provokes new thoughts on the essence of music and how essence has been used to explain music's effect. A long awaited book from one of the most respected senior scholars in the field, Absolute Music will be essential reading for anyone interested in the history, theory, and aesthetics of music.
Contextuality in Practical Reason by A. W. Price Pdf
A. W. Price explores the varying ways in which context is relevant to our reasoning about what to do. He investigates the role of context in practical inferences, practical judgements, and the ascription of reasons for action. This original, wide-ranging book will reward the attention of philosophers working in ethical theory and related areas.
Offering a new approach to scientific explanation, this book focuses initially on the explaining act itself. From that act, a "product" emerges: an explanation. To understand what that product is, as well as how it can be evaluated in the sciences, reference must be made to the concept of the explaining act. Following an account of the explaining act, its product, and the evaluation of explanations, the theory is brought to bear on these issues: Why have the standard models of scientific explanation been unsuccessful, and can there be a model of the type sought? What is causal explanation, and must explanation in the sciences be causal? What is a functional explanation? The "illocutionary" theory of explanation developed at the outset is used in discussing these issues, and contrasting philosophical viewpoints are assessed.