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Gadamer, Music, and Philosophical Hermeneutics
This volume explores Hans-Georg Gadamer's philosophical hermeneutics within a musical context. It features contributions from philosophers, musicians, educators, and musicologists from a variety of backgrounds, and sheds light on both the hermeneutic nature of music and the musicality of hermeneutics. Contributors to this volume hermeneutically think with music to uncover its fundamentally hermeneutic character, and by thinking with Gadamer in a musical context, explore ways in which hermeneutics may be understood to possess an inherent musicality. Gadamer's thought is taken up in a variety of musical contexts including improvisation, musical performance, classical music, jazz, and music criticism. This first volume to explore Gadamer's hermeneutics in a musical context breaks new ground by challenging musical concepts and by pushing Gadamer's thought in new directions. It appeals to philosophers engaged with Gadamer's thought (and philosophical hermeneutics more broadly), as well as philosophers of music, musicologists, and musicians interested in critically engaging with the practice of performing and listening to music.
Narrative and Self-Understanding
This exciting new edited collection bridges the gap between narrative and self-understanding. The problem of self-knowledge is of universal interest; the nature or character of its achievement has been one continuing thread in our philosophical tradition for millennia. Likewise the nature of storytelling, the assembly of individual parts of a potential story into a coherent narrative structure, has been central to the study of literature. But how do we gain knowledge from an artform that is by definition fictional, by definition not a matter of ascertained fact, as this applies to the understanding of our lives? When we see ourselves in the mimetic mirror of literature, what we see may not j...
The Ends of Critique
The Ends of Critique re-examines the stakes of critique in the 21st century. In view of increasingly complex socio-political realities and shifts in a fully globalized world, the roles and manners of critique also change. The volume offers an unprecedented re-examination of critique under those conditions of global entanglement and asymmetrical relations from a diversity of scholarly perspectives within the humanities. All contributions move the notion of critique into more diverse traditions than the Eurocentric, Kantian tradition and emphasize the need to attend to a plurality of critical perspectives. The volume’s reflections move critique toward a situated, perspectival, and entangled critical stance, with interventions from decolonial and systemic, deconstructive and (post)human(ist) perspectives. In that way, the volume develops a decidedly different approach to critique than recent considerations of critique as post-critique (Felski) or those endebted to Frankfurt School thought and liberal theories of democracy. It is the first full-length research publication of the interdisciplinary research network Terra Critica.
Contemporary Musical Virtuosities
Contemporary notions of musical virtuosity redevelop historic concepts and demonstrate that our present understanding of virtuosity in western art music has shifted from what seemed, for a time, to be a relatively clear and stable definition. In the field and the academy, lively debates around the definition and/or value of virtuosity have always elicited strong and varied ideas. In the twenty-first century, frictions have emerged between traditional definitions of virtuosity and contemporary practices that emphasise collaboration and blur roles between performers, composers, and improvisers. Contemporary Musical Virtuosities embraces the evolving processes, practitioners, and presentation m...
Heidegger and Music
Although philosophers have examined and commented on music for centuries, Martin Heidegger, one of the greatest philosophers of the 20th century, had frustratingly little to say about music—directly, at least. This volume, the first to tackle Heidegger and music, features contributions from philosophers, musicians, educators, and musicologists from many countries throughout the world, aims to utilize Heidegger’s philosophy to shed light on the place of music in different contexts and fields of practice. Heidegger’s thought is applied to a wide range of musical spheres, including improvisation, classical music, electronic music, African music, ancient Chinese music, jazz, rock n’ roll...
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