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Edward A. Lippman's writings on musical aesthetics comprise a wide variety of areas and employ both systematic and historical approaches, reflecting throughout his unrivaled knowledge of the philosophical literature on music and his deep understanding of the musical repertory. These essays span a broad range of subjects, from the ancients' sense of what music encompasses to the experience of rhythm in Anton Webern's work. Lippman surveys the physical and physiological factors that condition musical perception, and he explores the effect of sung text in vocal music. In the more purely philosophical realm, he argues persuasively that music speaks in its own terms, not in any formalistic sense but through the symbolic meanings it conveys. The historically focused essays include investigations of the aesthetic thinking of Wagner and Schumann, an endeavor that leads Lippman to probe the sources and drives behind musical creativity. Elsewhere he explores the development of particular musical styles. The Philosophy and Aesthetics of Music draws upon both philosophy and musicology in demonstrating how the interpretation of music extends far beyond the scope of conventional theory and analysis.

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• Introduction(p. vii)
• Part 1 Philosophy and Aesthetics(p. 1)
• 1 Symbolism in Music(p. 3)
• Notes(p. 25)
• 2 Spatial Perception and Physical Location as Factors in Music(p. 26)
• Notes(p. 38)
• 3 Progressive Temporality in Music(p. 40)
• 4 Reflections on the Aesthetics of Strophic Song(p. 65)
• Notes(p. 79)
• Part 2 Historical and Critical Studies(p. 81)
• 5 The Place of Music in the System of Liberal Arts(p. 83)
• Notes(p. 97)
• 6 The Place of Aesthetics in Theoretical Treatises on Music(p. 99)
• Notes(p. 113)
• 7 An Interpretation of Bach's "Ich Folge Dir Gleichfalls"(p. 115)
• 8 The Tonal Ideal of Romanticism(p. 123)
• Notes(p. 134)
• 9 Theory and Practice in Schumann's Aesthetics(p. 136)
• Notes(p. 173)
• 10 The Aesthetic Theories of Richard Wagner(p. 179)
• 11 The Formation of Wagner's Style(p. 192)
• Notes(p. 208)
• 12 Wagner's Conception of the Dream(p. 210)
• Notes(p. 237)
• Index(p. 239)

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CHOICE Review

Only a few of these essays represent the noted music historian's explorations into the nature of the experience of music. Lippman (Columbia Univ.) devotes easily half of this small volume to historical and critical writing on a narrow range of subjects, and because the essays span four decades the volume does not form an extended, well-developed argument concerning either the philosophical or the aesthetic qualities of music. The philosophical essays do not go far enough in their exploration; both Susanne Langer and Peter Kivy have written at greater length and in considerably more depth about philosophical topics. By contrast to theirs, Lippman's writing seems outmoded. For example, the essay "The Place of Music in the System of Liberal Arts" justifies music's place in the medieval quadrivium: an interesting examination, but this reviewer hoped for a more timely justification of the fine arts' place in current liberal arts. Save for an interpretive essay on Bach, the historical essays are limited to the Romantic era, specifically Schumann and Wagner. These will be of use to those who already possess an extensive background in general music history. Though this book includes some helpful information on specific topics, the absence of fresh insight limits its usefulness to graduate students, researchers, and faculty. M. Neil; Augustana College (IL)

Notas de autor provistas por Syndetics

Edward A. Lippman is a professor emeritus of music at Columbia University. He is the author or editor of several books, including A History of Western Musical Aesthetics (Nebraska 1992). nbsp; Christopher Hatch was a lecturer in music at Columbia University for almost forty years and has written numerous articles and book reviews.