This book is born out of two contradictions: first, it explores the making of meaning in a musical form that was made to lose its meaning at the turn of the nineteenth century; secondly, it is a history of a music that claims to have no history - absolute music. The book therefore writes against that notion of absolute music which tends to be the paradigm for most musicological and analytical studies. It is concerned not so much with what music is, but with why and how meaning is constructed in instrumental music and what structures of knowledge need to be in place for such meaning to exist. From the thought of Vincenzo Galilei to that of Theodore Adorno, Daniel Chua suggests that instrumental music has always been a critical and negative force in modernity, even with its nineteenth-century apotheosis as 'absolute music'.

What we think music is shapes how we hear it. This book traces the history of the idea of pure - 'absolute' - music from Pythagoras to the present, with special emphasis on efforts to reconcile the irreducible essence of the art with its profound effects on the human spirit. The core of this study focuses on the period 1850-1935, beginning with the collision between Richard Wagner and the Viennese critic Eduard Hanslick.

Twelve brilliant historians of theory probe the mind of the Romantic era in its thinking about music.

With contributions from a range of internationally known early music scholars and performers, Tess Knighton and David Fallows provide a lively new survey of music and culture in Europe from the beginning of the Christian era to 1600. Fifty essays comment on the social, historical, theoretical, and performance contexts of the music and musicians of the period to offer fresh perspectives on musical styles, research sources, and performance practices of the medieval and Renaissance periods.

This volume examines a single music-aesthetical idea from various historical and philosophical backgrounds. In exploring the origins of the idea and its career over two centuries, it brings to light the variety of ways in which it has affected music.

Drawing on draft manuscripts and other archival material, James Joyce and Absolute Music, explores Joyce's deep engagement with musical structure, and his participation in the growing modernist discourse surrounding 19th-century musical forms. Michelle Witen examines Joyce's claim of having structured the “Sirens” episode of his masterpiece, Ulysses, as a fuga per canonem, and his changing musical project from his early works, such as Dubliners and A Portrait of the Artist as a Young Man. Informed by a deep understanding of music theory and history, the book goes on to consider the “pure music” of Joyce's final work, Finnegans Wake. Demonstrating the importance of music to Joyce, this ground-breaking study reveals new depths to this enduring body of work.

If music is a universal language, is language a universal music?