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Understanding Music
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The Nature and Limits of Musical Cognition
Besorgungstitel - wird vorgemerkt | Lieferzeit: Besorgungstitel - Lieferbar innerhalb von 10 Werktagen I
Artikel-Nr:
9780754666127
Veröffentl:
2010
Erscheinungsdatum:
28.01.2010
Seiten:
170
Autor:
Hans Heinrich Eggebrecht
Gewicht:
426 g
Format:
234x156x11 mm
Sprache:
Englisch
Beschreibung:
Hans Heinrich Eggebrecht (1919-1999) was one of the leading musicologists of his generation. His contribution to the field in Germany ranks alongside that of his famous contemporary Carl Dahlhaus. From 1961 until his retirement in 1988 he was Professor of Musicology at the University of Freiburg. He published work on a wide range of subjects, including medieval music, Bach, the reception of Beethoven's work and Mahler's symphonies, as well as contributing to thought on theory and aesthetics. Very little of his writing has so far been translated into English. Richard Evans studied music at Exeter University, graduating in 1979. He worked as a teacher in Germany for some years before studying the piano in Frankfurt/Main and subsequently returning to England to complete a doctorate at Bristol. He has previously contributed translations to the journal 'Music Analysis'.
Hans Heinrich Eggebrecht was one of the most influential German musicologists of the twentieth century and yet he is almost unknown to English readers. Understanding Music summarizes Eggebrecht's thoughts on the relationship between music and cognition. As he says in his preface, the purpose of his book is 'to direct the reader towards the fundamental issues and processes implied in understanding music. What does understanding mean when applied to music? How is the process to be described?...What role do language and history play?'. Eggebrecht's answers to these and other questions amount to a compelling account of how the mind grasps the sounds of music in themselves and what other factors contribute to music's meaning so much to us as listeners.
Contents: Preface; Introductory sketch; Aesthetic understanding I; Intermezzo I: ontology, interpretation and performance; Aesthetic understanding II; Intermezzo II: aesthetic identification; Cognitive understanding; The limits of cognitive understanding; The encircling approach; Intermezzo III: identifying life with art - John Cage; Understanding?; Glossary; Bibliography; Index.