Kirjahaku

Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered.Musical Performance: A Philosophical Study considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how the tradition of active music playing and performing has been challenged by technology and what problems this poses for philosophical aesthetics. Where does does the value of musical performance lie? Is human performance of music a mere transfer medium? Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored.

Most music we hear comes to us via a recording medium on which sound has been stored. Such remoteness of music heard from music made has become so commonplace it is rarely considered.Musical Performance: A Philosophical Study considers the implications of this separation for live musical performance and music-making. Rather than examining the composition or perception of music as most philosophical accounts of music do, Stan Godlovitch takes up the problem of how the tradition of active music playing and performing has been challenged by technology and what problems this poses for philosophical aesthetics. Where does does the value of musical performance lie? Is human performance of music a mere transfer medium? Is the performance of music more expressive than recorded music? Musical Performance poses questions such as these to develop a fascinating account of music today. musicians - but via some recording medium on which sound has been stored.

In this work, Godlovitch explores aspects of the value of nature other than as a resource to satisfy our material interests. A recurring theme is that nature’s non-instrumental value thus conceived must be understood as involving a distinctively inextricable complex of both aesthetic and moral considerations. This distinguishes such value from the sorts typified by the moral worth of human beings and the aesthetic worth of cultural artifacts. He asks such questions as: Is there any relation between an aesthetic appreciation of nature and the reasonably well-established traditions of aesthetics of art and culture? Can an aesthetics of nature play any practical role in environmental protection? Godlovitch argues that we are encouraged, if not compelled, toward a conception of value in its own right whether we try to forge either a natural aesthetic or an environmental ethic.