Music to Hear on Here: Fad Gadget "Collapsing New People"

Thursday, October 13, 2011

Fad Gadget "Collapsing New People"

"...it is the 'secret': that which, concealed in reality, can reach human consciousness only through a code, which serves simultaneously to encipher and decipher that reality. Listening is henceforth linked (in a thousand varied indirect forms) to a hermeneutics: to listen is to adopt an attitude of decoding what is obscure, blurred or mute, in order to make available to consciousness the 'underside' of meaning" (249).

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Course Description

"Writing about music is like dancing about architecture." Martin Mull (or Elvis Costello)

Thinking about the meaning and value, intellectual, affective and neurological experiences, and aesthetics of music has occupied an important position in modern and contemporary philosophical writings. Central to the philosophy of music is a questioning of what music is insofar as it is an art form and practice, akin to but different from other arts, such as drama, literature, painting, sculpture, to name but a few examples. Claims have been made, in fact, that music’s effect, when performed and listened to, surpasses those of the other arts because of its abstact purity, of its universality, and of its singular capacity to express, represent and incite emotions. This course will explore such issues in 19th-20th century philosophy. We will begin with introductory readings of what composes the field and discipline of the philosophy of music. We will read—among other philosophers, novelists, critics and musicologists—Schopenhauer, Nietzsche, Barthes and Adorno’s writings on music. Finally, we will have the occasion to read about and listen to specific musicians, both high and low, and explore the contexts of their work, concentrating on the historical and political dimensions of the practice, performance and art of making music.