Nederlandse editie: 978 90 8964 570 8

For virtually all of our lives, we are surrounded by music. From lullabies to radio to the praises sung in houses of worship, we encounter music at home and in the street, during work and in our leisure time, and not infrequently at birth and death. But what is music, and what does it mean to humans? How do we process it, and how do we create it?

Musician Leo Samama discusses these and many other questions while shaping a vibrant picture of music's import...

Exploring experimental attitudes in music.

Experimental Affinities in Music brings together diverse artistic, musicological, historical, and philosophical essays, enhancing a broad discourse on artistic experimentation, and exploring various experimental attitudes in music composed between the thirteenth and twentieth centuries.

The golden thread running through the different chapters is the quest for inherently experimental musical practices, a quest pursued from interrogating, descriptive, ...

Nouvelles perspectives en sémiotique.Tout est musique, et la musique nous accompagne partout : ces lieux communs n'ont jamais été si vrais qu'aujourd'hui, au temps de l'arrosage musical continuel. Cette ubiquité, loin d'être simplement une mode, nous oblige à repenser sémiotiquement la fonction et le fonctionnement de la musique.Les essais composant Sémiotique et vécu musical montrent dans quelle direction se dirigent les recherches de nos jours. L'analyse de l'expérience musicale, ...

Welke werkwijze kan het beste worden gevolgd bij het schrijven van een canon? Aan welke voorwaarden moet een goed fugathema voldoen? Hoe zet men een divertiment op, dat twee ontwikkelingen in een fuga met elkaar verbindt? Praktische vragen voor iedereen, die zich bezig gaat houden met de belangrijkste polyfone compositietechnieken.

The impact of Hegelian philosophy on 19th-century music criticism.

Music's status as an art form was distrusted in the context of German idealist philosophy which exerted an unparalleled influence on the entire nineteenth century. Hegel insisted that the content of a work of art should be grasped in concepts in order to establish its spiritual substantiality (Geistigkeit), and that no object, word or image could accurately represent the content and meaning of a musical work. In the mid-ninete...