How to use philosophy and music to open your horizons and enjoy being yourself, put theory to work, and help you experience personal growth is discussed in A Marriage of Philosophy and Music. It is all about "after." After having a liberal education, you are comfortable in modern culture, and after further education and becoming a specialist in some field, you enjoy using your skills. We learn the ideas and methods of many social cultures and our own chosen specialty, but we often neglect the liberal art of disciplining and enjoying the ideas and methods of our own individuality. This book offers a path toward the education of privacy, with the key words being selection, design, and beauty. The book relates five areas of general human interest: spirituality, philosophy, science, art, and body awareness. The interrelation is accomplished by using personal patterns of experience that are available from philosophy and music. Because of the plurality of subject matters and methods used in philosophy and music, their patterns of discipline are comparable to self-discipline. A Marriage of Philosophy and Music attempts to create a path in this direction, because besides the enjoyment of social culture and personal skills, there is enjoyment in being yourself, which is a neglected liberal art.

Part of a detailed compendium of late-Roman learning in each of the seven liberal arts, set within an amusing mythological-allegorical tale of courtship and marriage among the pagan gods. The text provides an understanding of medieval allegory and the components of a medieval education.

In 1677 a slim quarto volume was published anonymously as A Philosophical Essay of Musick. Written by Francis North (1637-85), chief justice of the Common Pleas, the Essay is in the form of a legal case argued from an hypothesis. Utilising the pendulum as his hypothesis, North provided a rationale from mechanics for the emerging new musical practice we now call 'tonality'. He also made auditory resonance the connecting link between acoustical events in the external world and the musical meanings the mind makes on the basis of sensory perception. Thus began the modern philosophy of music that culminated with the work of Hermann von Helmholtz. As a step towards understanding this tradition, Jamie C. Kassler examines the 1677 Essay in its historical context. After assessing three seventeenth-century criticisms of it and outlining how one critic developed some implications in the Essay, she summarises the basic principles that have guided the modern philosophy of music from its beginnings in the 1677 Essay. The book includes an annotated edition of the Essay as well as the comments of the three critics.

A Concise Survey of Music Philosophy helps music students choose a philosophy that will guide them throughout their careers. The book is divided into three sections: central issues that any music philosophy ought to consider (e.g., beauty, emotion, and aesthetics); secondly, significant philosophical positions, exploring what major thinkers have had to say on the subject; and finally, opportunities for students to consider the ramifications of these ideas for themselves. Throughout the book, students are encouraged to make choices that will inform a philosophy of music and music education with which they are most comfortable to align. Frequently, music philosophy courses are taught in such a way that the teacher, as well as the textbook used, promotes a particular viewpoint. A Concise Survey of Music Philosophy presents the most current, prevalent philosophies for consideration. Students think through different issues and consider practical applications. There are numerous musical examples, each with links from the author’s home website to online video performances. Examples are largely from the Western classical canon, but also jazz, popular, and world music styles. In the last two chapters, students apply their views to practical situations and learn the differences between philosophy and advocacy. "Hodges has written an excellent resource for those wanting a short—but meaningful—introduction to the major concepts in music philosophy. Applicable to a number of courses in the music curriculum, this much-needed book is both accessible and flexible, containing musical examples, tables and diagrams, and additional readings that make it particularly useful for a student's general introduction to the topic. I especially like the emphasis on the personal development of a philosophical position, which makes the material especially meaningful for the student of music." —Peter R. Webster, Scholar-in-Residence, Thornton School of Music, University of Southern California, USA

These three essential volumes on classical music theory and history explore the lives and contributions of some of music’s greatest minds. In Legend of a Musical City: The Story of Vienna, renowned Austrian music critic Max Graf shares his recollections of life with Anton Bruckner, Gustav Mahler, Johannes Brahms, Richard Strauss, Arnold Schoenberg, and other immortals of the music world. Bringing to life several iconic composers as well as the city of Vienna itself, Graf recounts a charming, personal, and highly educational story of Austria’s musical legacy. In Schoenberg and His School, noted composer, conductor, and music theorist René Leibowitz offers an authoritative analysis of Schoenberg’s groundbreaking contributions to composition theory and Western polyphony. In addition to detailing his subject’s major works, Leibowitz also explores Schoenberg’s impact on the works of his two great disciples, Alban Berg and Anton Webern. In Shostakovich: The Man and His Work, Ivan Martynov presents a compelling and intimate biography of this pioneering legend. Martynov draws on extensive research, including interviews and conversations with Shostakovich himself, as well as his own expertise in the field of musicology.

In this detailed and comprehensive study of concepts from Gilles Deleuze’s philosophy of time, Tromans undertakes a series of practice as research projects that reformulate Deleuze’s work via what Tromans calls a “musical-philosophical” practice. Tromans interweaves his own solo-piano improvisation and composition with analyses of his and others’ works in improvisation and experimental musics, leading to the creation of new, interdisciplinary concept or conceptual practice that he calls Rhythmicity: a way to rethink the temporal in respect of how we model its movements and relationships. Through the models of temporal interaction devised via each project, Deleuze’s concepts are transformed via their incorporation into the musical-philosophical mix. In addition, music improvisation and composition are shown to be utilisable for more than the making of music alone, with the thesis providing fresh insight for the fields of practice as research in music, Deleuze studies, experimental music, and Performance Philosophy in respect of its uniqueness of process and output.

Why does Stanley Cavell's philosophical thought matter for music? And how did Cavell's musical practice and appreciation of music give shape to his indelible philosophical claims about cinema, human speech, opera, the expression of skepticism, and ordinary language philosophy? Music with Stanley Cavell in Mind provides a first-of-its-kind intervention by leading philosophers and scholars of music into an intellectual landscape in need of such charting. As a performer who then trained as a philosopher, the arc of Cavell's wide-ranging investigation of music maps consistently with a proximate concern for the features of human experience that involve music and sound, including the sound of prose, authorial voice (its possession, its divestment, its arrogation), the presence/problem/potentiality of silence in communication, and related features of sonic phenomena central to life lived at the scale of the everyday. Despite widespread scholarly fascination with the intersection of “Cavell” and “music”--that music is famously a core theme for him--no book like this has yet appeared. Moreover, our efforts here are addressed to the serious student (at all levels) and the general reader alike arriving from many precincts of thought and practice: musical performance, literary theory, cultural studies, musicology, and philosophy.