Philosophy of Song and Singing: An Introduction

9781138790674: Philosophy of Song and Singing: An Introduction

"Jeanette Bicknell’s Philosophy of Song and Singing is a convincing addition to the body of work in musical aesthetics, which has tended to emphasize music alone. Song and Singing offers a framework for understanding singing, itself, that is philosophically solid, yet very accessible for undergraduates in all specializations who are interested in exploring more about the nature of musical performance."

Jennifer Judkins, UCLA Herb Alpert School of Music, USA

"Even very simple songs can yield profound (and profoundly moving) performances, and Jeanette Bicknell's A Philosophy of Song and Singing is an engaging exploration of songs and their performance. Written with admirable clarity, this is an important contribution to the aesthetics of music."

Theodore Gracyk, Minnesota State University Moorhead, USA

"Bicknell has thought long, hard, and lovingly about song and its place in our lives, and the results on display in this book are as refreshing as they are provocative."

Jerrold Levinson, University of Maryland, USA

"Bicknell’s book considers not only 'purely musical' matters of singing and vocal technique but also the larger social, political, and cultural contexts in which the various practices of singing arise and are enjoyed, including such diverse matters as the public persona and physical appearance of singers and the roles that digital technologies such as Auto-Tune play in the expectations of singers and audiences. A Philosophy of Song and Singing is an important contribution to the philosophical literature on song and singing."

Philip Alperson, Temple University, USA

Reseña del editor:

In Philosophy of Song and Singing: An Introduction, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include:

  • The relationship between the meaning of a song’s words and its music
  • The performer’s role and the ensuing gender complications, social ontology, and personal identity
  • The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance
  • The metaphysical status of isolated solo performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals

Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available.

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