By Jeanette Bicknell
In Philosophy of tune and making a song: An Introduction, Jeanette Bicknell explores key aesthetic, moral, and different philosophical questions that experience no longer but been completely researched via philosophers, musicologists, or scientists. concerns addressed include:
- The dating among the which means of a song’s phrases and its music
- The performer’s position and the resultant gender problems, social ontology, and private identity
- The performer’s moral duties to audiences, composers, lyricists, and people for whom the fabric holds specific significance
- The metaphysical prestige of remoted solo performances in comparison to the continual making a song of opera or the interrupted making a song of level and reveal musicals
Each bankruptcy specializes in one significant musical instance and contains a number of shorter discussions of different choices. All were selected for his or her illustrative energy and their accessibility for any reader and are without difficulty available.
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In Philosophy of track and making a song: An advent, Jeanette Bicknell explores key aesthetic, moral, and different philosophical questions that experience now not but been completely researched via philosophers, musicologists, or scientists. matters addressed contain: the connection among the which means of a song’s phrases and its track The performer’s function and the consequent gender issues, social ontology, and private id The performer’s moral responsibilities to audiences, composers, lyricists, and people for whom the cloth holds specific value The metaphysical prestige of remoted solo performances in comparison to the continual making a song of opera or the interrupted making a song of level and display musicals each one bankruptcy specializes in one significant musical instance and comprises a number of shorter discussions of alternative choices.
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Additional info for Philosophy of Song and Singing: An Introduction
However diﬃcult it is to specify how the two work well together and why, the answer is not to treat the words as dominant in a hybrid pair. “Dover Beach” “Dover Beach” is a poem by Matthew Arnold (1822–88) set to music by the American composer Samuel Barber (1910–81). Unlike the folk and rock music that I have been taking as examples, it is a “thick” work. The vocalist and instrumentalists (a string quartet) are expected to stick closely to the score. 18 What can we say about how the words and music of “Dover Beach” work together and inﬂuence one another, and how should these factors inﬂuence our judgment of the song?
But listeners can experience songs (and other music) only through performance. While it is true that some people can read a score and “hear” music in their minds, this is a form of imagining sound rather than actually experiencing it. So the time has come to consider song performance. What do singers do? be/UlbLs_bvimU (accessed December 9, 2014). be/ETOiPn_wK1s (accessed December 9, 2014). 3 Aaron Ridley, The Philosophy of Music: Theme and Variations (Edinburgh: Edinburgh University Press, 2004), 79.
They have diﬀerent sound qualities, they work together in diﬀerent ways, and they have diﬀerent (sometimes heightened) expressive properties. 11 If the hybrid model will not do, how should we think about songs? What kind of thing is a song? 13 Judging Songs Thinking of songs as hybrids has a number of unfortunate implications for our evaluative practices. Because hybrid models encourage us to think of works in terms of, and in light of, their components, they can support a bias against songs whose texts are not self-standing; that is, whose texts do not work simply as spoken or as read silently from the page.
Philosophy of Song and Singing: An Introduction by Jeanette Bicknell