Music to Hear on Here

Thursday, September 1, 2011

Raphael's Saint Cecilia (1516-17)

St. Cecilia of Raphael

"For [the artist] it is not the way out of life, but only an occasional consolation in it, until his power, enhanced by this contemplation, finally becomes tired of the spectacle, and seizes the serious side of things. The St. Cecilia of Raphael (1516-17)can be regarded as a symbol of this transition."

Saint Cecilia, the patron saint of musicians and Church music, listening to a choir of angels in the company of St. Paul, St. John the Evangelist, St. Augustine and Mary Magdalene.

In 1880, English Romantic poet Percy Shelley described the painting as follows:

The central figure, St. Cecilia, seems rapt in such inspiration as produced her image in the painter's mind; her deep, dark, eloquent eyes lifted up; her chestnut hair flung back from her forehead — she holds an organ in her hands — her countenance, as it were, calmed by the depth of its passion and rapture, and penetrated throughout with the warm and radiant light of life. She is listening to the music of heaven, and, as I imagine, has just ceased to sing, for the four figures that surround her evidently point, by their attitudes, towards her; particularly St. John, who, with a tender yet impassioned gesture, bends his countenance towards her, languid with the depth of emotion. At her feet lie various instruments of music, broken and unstrung.

F.J. Haydn--The Heavens are Telling (The Creation) Oratorio/Christopher Hogwood

F.J. Haydn-The Heavens are Telling (The Creation)

Canada Lifts Ban on Dire Straits' Money for Nothing

See link for Rolling Stones' Article: http://www.rollingstone.com/music/news/canada-lifts-ban-on-dire-straits-money-for-nothing-20110901

Thursday, August 25, 2011

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.