“Taking the ‘art’ of music for granted: a critical sociology of the aesthetic philosophy of music"
DOI:
https://doi.org/10.7203/LEEME.19.9764Keywords:
Aesthetic Philosophy of Music, Critical Sociology, Artistic Perspective.
Abstract
Musicians and teachers are wrong to take as a guarantee of "art" the nature, function and value of music, that is, as a matter of aesthetic pleasure, metacognitive expression or great "intellectual culture." When such assumptions are identified with what music is, what it is and how good it is, we have a kind of elitism or snobbery (Lynes, 1966) that leaves the aesthetes in a socioeconomic or intellectual limbo complaining that What they enjoy and value guarantees educational and economic prominence. But if music as art were so clearly and clearly valuable to other intelligent people as to musical musicians and educators, their importance to education and society would not have to be continually defended.
References
Alperson, Philip. 1984. "On Musical Improvisation." The Journal of Aesthetics and Art Criticism 63, no. 1: 17.
---- 1987. "Aristotle on Jazz." Council for Research in Music Education Bulletin, no. 85: 39.
---- 1992. "The Arts of Music." The Journal of Aesthetics and Art Criticism 50 (Summer 1992): 218.
---- 1994 "Introduction: The Philosophy of Music." In What is Music? An introduction to the philosophy of music, ed. Philip Alperson. Pennsylvania State University Press.
Arnold, Matthew. 1932 [1869]. Culture and Anarchy. Cambridge: Cambridge University Press.
Appiah, Kwame Anthony. 1992. In my Father's House: Africa in the Philosophy of Culture. Oxford: Oxford University Press.
Baker, Russell. 1991. "Hear America Listening." The New York Ems (Saturday, November 2): 23.
Barrow, Robin and Ronald Woods. 1989. Introduction to Philosophy of Education. 3d Edition. London: Routledge.
Beardsley, Monroe C. 1967. "History of Aesthetics." In The Encyclopedia of Philosophy, vol. 1, 18-35. New York: Macrnillan/Free Press.
Berland, J. C. 1982. No Five Fingers are Alike: Cognitive Amplifiers in Social Context. Cambridge, MA: Harvard.
Berger, Peter L. and Thomas Luckmann. 1967. The Social Construction of Reality: a Treatise in the Sociology of Knowledge. New York: Anchor/Doubleday.
Blacking, John. 1970. How Musical is Man. Seattle: University of Washington.
---- 1990. A Common-Sense View of All Music. Cambridge: Cambridge University Press. Blaukopf, Kurt. 1992. Musical Life in a Changing Society. Trad. D. Marinelli. Amadeus Press.
Blocker, H. Gene. 1991. "Is Primitive Art Art?" Journal of Aesthetic Education 25 (Winter): 87.
Blume, Friedrich. 1970. Classic and Romantic: a Comprehensive Survey. Trad. M.D. Herter Norton. New York: Norton [1958]. Bowman, Wayne. 1994. Unpublished; read at the philosophy SRIG, MENC Conference, Cincinatti. Brissett, D., and C. Edgely, eds. 1975. Life as Theater. Chicago: Aldine. Bruner, Jerome. 1991. "Self-Making and World-Making." Journal of Aesthetic Education 25 (Spring 1991): 68 [drawing upon Roman Jakobson, selected writings, vol. 8 (Berlin: Mouton de Gruyter, 1988), 92fl.
Cage, John. 1961. Silence. Wesleyan University Press.
Cassirer, Ernst. 1968 [1951]. The Philosophy of the Enlightenment. Trad. F. C. A. Koelln and J. P. Pettegrove. Princeton.
Caswell, Austin B. 1991. "Canonicity in Academia: A Music Historian's View."Journal of Aesthetic Education 25 (Fall): 129.
Cohen, Albert. 1981. Music in the French Royal Academy of Sciences. Princeton.
Cohen, Amy Simowitz. 1983. Theory of Art in the Encyclopedic. Ann Arbor, MI: UMI Research Press.
Coleman, Francis J. 1971. "Is Aesthetic Pleasure a Myth?" Journal of Aesthetics and Art Criticism 29 (Spring 1971): 320.
Colles, H. C. 1956. The Growth of Music: Part 11. The Age of the Sonata. 2d ed. Rev. Eric Blom. London: Oxford University Press.
Cone, Edward. 1994. "Music and Form." In What is Music? Ed. P. Alperson. New York: Haven Publications,
Cook, Nicholas. 1990. Music, Imagination and Culture. Oxford: Oxford University Press.
Craft, Robert. 1976. "Record Review." The New York Review of Books (July 15).
Cutietta, Robert A. 1993. "The Music Elements: Who Said They're Right." Music Educators Journal 79 (May): 48.
Dahlhaus, Carl. 1989. The Idea of Absolute Music. Trad. R. Lustig. Chicago University Press.
Dickie, George. 1974. Art and the Aesthetic: an Institutional Analysis. Cornell.
Dipert, Randall. 1993. Artifacts, Art Works, and Agency. Philadelphia: Temple University.
Eliot, T. S. 1948. Notes Towards the Definition of Culture. London: Faber & Faber [rev. ed. 19621.
Elliott, David 1. 1991. Music as Knowledge. Journal of Aesthetic Education 25 (Fall): 21.
---- 1993. "Musicing, Listening, and Musical Understanding."Contributions to Music Education 20 (1993): 78.
Ford, Julienne. 1975. Paradigms & Fairy Tales: An Introduction to the Science of Meanings. London: Routledge.
Fowler, Charles, ed. 1988. The Crane Symposium: Toward an Understanding of the Teaching andlearning of Music Perforrnance. Potsdam, NY: State University College.
Frith, Simon. 1990. "Towards an Aesthetic of Popular Music." In Music and Society: the Politics of Composition, Perforrnance and Reception. Eds. R. Leppert and S. McClary. Cambridge: Cambridge University Press.
Gillispie, Charles Coulton. 1960. The Edge of Objectivity: an Essay in the History of Scientzj5c Ideas. Princeton University Press.
Goehr, Lydia. 1992. Ihe Imaginary Museum of Musical Works. Oxford: Oxford University Press.
Goodman, Nelson. 1981. Ways of Worldmaking. Indianapolis: Hackett.
Hamoncourt, Nicholas. 1988. Baroque Music Today: Music as Speech. Trad. M. O'Neil. Portland: Amadeus Press Music als Klangrede, Residenz Verlag, 19821.
Hauser, Arnold. 1951. The Social History ofArt, vol. III. Trad. S. Godman. Alfred A. Knopf/Random House (Vintage).
Hawakaya, S. I. 1978. Language in Thought and Action. 4th. ed. New York: Harcourt BraceJovanovich.
Huizinga, Johan. 1960. Homo ludens. Boston: Beacon Press [1950].
Kadish, Mortimer R. 1968. Reason and Controversy in the Arts. Cleveland: Case Western Reserve.
Kaemmer, John E. 1993. Music in Human Life. Austin: University of Texas Press.
Kant, Immanuel. 1952. The Critique of Judgement. Trad. J. C. Meredith. In Great Books of the Western World, vol. 42, ed. R. M. Hutchins. Encyclopaedia Britannica [1790].
Kharasch, Robert N. 1973. The lnstitutiona1 lmperative. New York: Charterhouse Books.
Kingsbury, Henry. 1988. Music, Talent, and Performance: a Conservatory Cultural System. Philadelphia: Temple University Press.
Kivy, Peter. 1991. "Is Music an Art?" The Journal of Philosophy 88 (October 1991): 544.
Kristeller, P. O. 1965. "The Modern System of the Arts." In Renaissance Thought 11. New York: Harper Torchbook, 163-227.
Kühn, Thomas. 1975. The Structure of Scientific Revolutions. Chicago: University of Chicago Press.
Kupfer, Joseph H. 1983. Experience as Art: Aesthetics in Everyday Life. Albany: SUNY Press.
Lag, Henry. 1941. Music in Western Civilization. New York: Norton.
Lasch, Christopher. 1984. "The Degradation of Work and The Apotheosis of Art." Harper's 268 (February): 42-43.
Lash, S. 1990. The Sociology of Postmodernism. London: Routledge.
Levine, Lawrence W. 1988. Highbrow Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge: Harvard University Press.
Lumley, Robert, ed. 1988. The Museum Time Machine. London: Comedia Boo/Routledge.
Lynes, Russell. 1966. Confessions of a Dilettante. New York: Harper & Row.
Mattheson, J. 1839. Der volkommene Capellmeister.
McEvilley , Thomas. 199 1. Art and Discontent. Kingston, NY: McPherson & Co.
----. 1992. Art and Otherness. Kingston, NY: McPherson & Co.
McWilliam, Neil. 1993.cDreams of Happiness: Social Art and the French kft 1830-1820. Princeton University Press. M.E.N.C. 1991. Music Educators Journal 77, no. 8 (April): theme issue, "Popular music and Music Education."
---- 1992. Music Educators Journal 78, no. 9 (May): theme issue, "Multicultural Music Education."
Nattiez, Jean-Jacques. 1990. Music and Discourse. Trad. C. Abbate. Princeton.
Nelson, Robert B. 1994. "Aesthetics in the Band Room." Music Educators Journal 80 (January): 24.
Onions, C. T., ed. 1966. lhe word Dictionary of English Etymology. Oxford: Oxford University Press.
Passmore, John. 1992. Serious Art. LaSalle, IL: Open Court.
Paynter, John. 1992. Sound and Structure. London: Cambridge University Press.
Phillips, Kenneth H. 1993. "A Stronger Rational for Music Education." Music Educators Journal 80 (September): 17.
Price, Sally. 1989. Primitive Art in Civilized Places. University of Chicago Press.
Rice, Danielle. 1991. "Art in the Museum Setting. " Journal of Aesthetic Education 25 (Winter): 127.
Regelski, Thomas A. 1970. Music and Painting in the Paragon of Eugene Delacroix. Unpublished Ph.D. dissertation, Ohio University.
---- 1981. Teaching General Music: Action Learning for Middle and Secondary Schools. New York: Schirmer.
---- 1986. "Concept-learning and Action Learning in Music Education." British Journal of Music Education 3 (July): 185.
---- 1992. "The Action Value of Musical Experience and Learning." In Companion to Contemporaly Musical Thought, vol. 1. ed. J. Paynter et al. (105-29). London: Routledge.
Reimer, Bennett. 1993. "Music Education in Our Multimusical Culture." Music Educators Journal 79 (March): 21.
Rosen, Charles. 1971. The Classical Style. New York: Viking.
---- 1991. "Radical, Conventional Mozart. "lhe New York Review of Boob (December 19, 1991), 51-59. [Véase también la carte de Leo Treitler y la réplica de Rosen, 9 abril 1992, 54.]
Said, Edward. 1983. "Opponents, Audiences, Constituencies, and Community." In The Anti-Aesthetic. Ed. Hal Foster. Port Townsend, WA: Bay Press. Said, Edward. 1991. Musical Elaborations, New York: Columbia University. Sessions, Roger. me Musical Experience of Composer, Performer, Listener.Princeton University Press.
Shepherd, John, et al. 1977. Whose Music? A Sociology of Musical languages. London: Latimer New Dimensions.
---- 1991. Music as Social Text. Cambridge: Polity Press.
---- 1991a "Music and the Last Intellectuals." Journal of Aesthetic Education 25 (Fall): 95.
---- 1992. "Music as Cultural Text." In Companion to Contemporary Musical Thought, vol. 1, Ed. John Paynter, et al., 128-55. London: Routledge.
---- 1993. "Value and Power in Music." In Relocating Cultural Studies: Developments in Theory and Research. Ed. Valda Bherdall, John Shepherd and Ian Taylor. London: Routledge, 1993.
Stebbins, Robert. 1975. "Role Distance, Role Distance Behavior and Jazz Musicians." In Life as Theater. Ed. Brissett and C. Edgley, 133-41. Chicago: Aldine. Stigler, J. W., R. A. Schweder, and G. Herdt, eds. 1990. Cultural Psychology. Cambridge: Cambridge University Press.
Stolnitz, Jerome. 1961. "Of the Origins of 'Aesthetic Disinterestedness.'"The Journal of Aesthetic and Art Criticism XX (1961): 131-43. Sparshott, Francis. 1994. "Aesthetics of Music-Limits and Grounds." In What is Music? Ed. P. Alperson, 35-98. Haven Publications.
Spring, Joel. 1976. The Sorting Machine. New York: Longman.
---- 1993. American Education. 6th ed. New York: Longman. Sumki, Takao. 1973. Japanese and the Japanese: Words in Culture. Trad. A. Miura. Tokyo: Kodansha.
Swanwick, Keith. 1992. "What Makes Music Music?" In Companion to Contemporary Musical Thought, vol. 1. Ed. J. Paynter, et al., 82-104. London: Routledge. Shweder, R. A., R. A. Le Vine, eds. Culture Theory: Essays on Mind, Self, and Emtion. Cambridge: Cambridge University Press.
Downloads
Published
Issue
Section
License
Authors who have publications with this journal agree to the following terms:
a) Authors will retain their copyright and will grant the journal the right of first publication of their work, which will simultaneously be subject to the Creative Commons Attribution License that allows third parties to share the work as long as its author and first publication in this journal are indicated.
b) Authors may enter into other non-exclusive licensing arrangements for the distribution of the published version of the paper (e.g. depositing it in an institutional telematic archive or publishing it in a monographic volume) provided that initial publication in this journal is indicated.
c) Authors are allowed and encouraged to disseminate their work via the Internet (e.g. in institutional telematic archives or on their website) before and during the submission process, which may lead to interesting exchanges and increase citations of the published work.
d) They agree to act as reviewers, if requested by the journal's editorial team.
Language
Information