This volume explores the possibilities of cognate music theory, a concept introduced by musicologist John Walter Hill to describe culturally and historically situated music theory. Cognate music theories offer a new way of thinking about music theory, music history, and the relationship between insider and outsider perspectives when researchers mediate between their own historical and cultural position, and that of the originators of the music they are studying. With contributions from noted scholars of musicology, music theory, and ethnomusicology, this volume develops a variety of approaches using the cognate music theory framework and shows how this concept enables more nuanced and critical analyses of music in historical context. Addressing topics in music from the seventeenth to nineteenth centuries, this volume will be relevant to musicologists, music theorists, and all researchers interested in reflecting critically on what it means to construct a theory of music. Chapter 9 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.

Explore the relationship between music and society around the world This comprehensive introductory text creates a panoramic experience for beginner students by exposing them to the many musical cultures around the globe. Each chapter opens with a musical encounter in which the author introduces a key musical culture. Through these experiences, students are introduced to key musical styles, musical instruments, and performance practices. Students are taught how to actively listen to key musical examples through detailed listening guides. The role of music in society is emphasized through chapters that focus on key world cultural groups.

This volume, reproducing a special issue of The Journal of Aesthetics and Art Criticism on "The Philosophy of Music" (Winter 1994) with a revised introduction and two new articles, is distinguished by its breadth of content, diversity of approaches, and clarity of argument, which should make it useful for classroom teaching. The topics covered include musical representation, the expression of feeling in music, the metaphysics of operatic speech and song, musical understanding, musical composition, feminist music theory, music and politics, music and racial identity, music in non-Western cultures, and the ontological implications of recording technology for rock music. The approaches used are philosophical, historical, social and political, feminist, and ethnomusicological. The book includes discussions of a great many styles and historical periods of music, from ancient Greek music and music theory to instrumental and operatic music in the Western classical tradition, Persian music, music of the Blackfoot Indians, rock and the blues, and the avant-garde compositions and performances of John Cage. The contributors, all eminent scholars in the field, are Philip Alperson, Noël Carroll, Stephen Davies, Claire Detels, John Andrew Fisher, Lydia Goehr, Peter Kivy, Jerrold Levinson, James Manns, Bruno Nettl, Jenefer Robinson, Joel Rudinow, Göran Sörbom, Francis Sparshott, and Kendall Walton.

"The modern version of The Tao of Physics. . . We gain tantalizing glimpses of an elusive alternative to the thing we know as science. . . . Above all, Peat's book is an eloquent plea for a fair go for the modes of enquiry of other cultures." --New Scientist One summer in the 1980s, theoretical physicist F. David Peat went to a Blackfoot Sun Dance ceremony. Having spent all of his life steeped in and influenced by linear Western science, he was entranced by the Native American worldview and, through dialogue circles between scientists and native elders, he began to explore it in greater depth. Blackfoot Physics is the account of his discoveries. In an edifying synthesis of anthropology, history, metaphysics, cosmology, and quantum theory, Peat compares the medicines, the myths, the languages—the entire perceptions of reality of the Western and indigenous peoples. What becomes apparent is the amazing resemblance between indigenous teachings and some of the insights that are emerging from modern science, a congruence that is as enlightening about the physical universe as it is about the circular evolution of humanity’s understanding. Through Peat’s insightful observations, he extends our understanding of ourselves, our understanding of the universe, and how the two intersect in a meaningful vision of human life in relation to a greater reality.

Philosophers have considered questions raised by the nature of art, of beauty, and critical appreciation since ancient times, and the discipline of aesthetics has a long tradition that stretches from Plato to the present.