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Full-Text Articles in Arts and Humanities
Antonio T. De Nicolás: Poet Of Eternal Return, Christopher Key Chapple
Antonio T. De Nicolás: Poet Of Eternal Return, Christopher Key Chapple
Research Resources
This book includes essays in honor of Professor Antonio de Nicolas.
Reflections On Music And Propaganda, Luis Velasco Pufleau
Reflections On Music And Propaganda, Luis Velasco Pufleau
Contemporary Aesthetics (Journal Archive)
In general, the concept of propaganda refers to a method as well as the symbolic object mobilized by it. Propaganda equally constitutes a particular type of communication that involves not only the mobilization of objects, but also of discourse, places, acts, and rituals. This essay employs the writings of Max Weber, Paul Ricœur, Jacques Ellul, and Jacques Rancière to analyze propaganda as a particular type of symbolic political dispositif linked to a specific performance and utterance context. I examine humanitarian songs as a propaganda tool in democracy, and show the conditions and the limits of their mobilization through their contextualization. …
Musical Ontology: Critical, Not Metaphysical, Jonathan A. Neufeld
Musical Ontology: Critical, Not Metaphysical, Jonathan A. Neufeld
Contemporary Aesthetics (Journal Archive)
The ontology of musical works often sets the boundaries within which evaluation of musical works and performances takes place. Questions of ontology are therefore often taken to be prior to and apart from the evaluative questions considered by either performers as they present works to audiences or an audience’s critical reflection on a performance. In this paper I argue that, while the ontology of musical works may well set the boundaries of legitimate evaluation, ontological questions should not be considered as prior to or apart from critical evaluation. Rather, ontological claims are a type of critical evaluation made within musical …
Pushing The Limits: Risk And Accomplishment In Musical Performance, David Clowney, Robert Rawlins
Pushing The Limits: Risk And Accomplishment In Musical Performance, David Clowney, Robert Rawlins
Contemporary Aesthetics (Journal Archive)
Using examples from musical performance of several kinds, we argue that risk-taking, showing off, virtuosity, and other forms of musical showmanship are in many cases, though not in all, an integral and appropriate part of the music as performed on that occasion. We reflect on the difference between cases where this is so and cases where it is not, using insights from John Dewey’s aesthetics as articulated in Art as Experience.
Formal Properties As The Basis For Value In Music, Thomas B. Yee
Formal Properties As The Basis For Value In Music, Thomas B. Yee
Global Tides
This paper defends the thesis that value in a piece of music is based in its formal properties rather than its non-formal properties. Two arguments are presented to support this conclusion. The first argument shows that if value in music is to be objective, then it must be grounded in a piece's formal properties rather than its non-formal properties. In the second argument, a number of alternate possibilities for grounding value in music are considered and shown to miss the mark or be inadequate. Finally, a number of possible objections against the arguments and conclusion are considered and possible responses …