What does it mean to understand music? What, if anything, does music mean? Composers, performers, listeners, and academics may answer these questions differently, but what sense of music do they share? When music seems unfamiliar or unlike anything we have heard before, we may say that we don't like it. How is taking pleasure from music related to understanding it? This book explores these and other issues as they arise in various musical contexts.
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Charles Rosen is a pianist whose celebrated concert career spans many decades and continents, and whose noatble recordings over a wide range of piano repertory have been awarded many accolades. He was the Charles Eliot Norton Professor at Harvard University and a professor of music and social thought at the University of Chicago.
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Paperback. Etat : New. What does it mean to understand music? What, if anything, does music mean? Composers, performers, listeners, and academics may answer these questions differently, but what sense of music do they share? When music seems unfamiliar or unlike anything we have heard before, we may say that we don't "like" it. How is taking pleasure from music related to understanding it? This book explores these and other issues as they arise in various musical contexts. Performers' interpretations may be filled with errors, after all, that then become part of a tradition; a composer's work may be variously assessed by his or her contemporaries - an account of how Beethoven's reputation was established so early is included - and how musical analysis can mislead as well as enhance understanding of a composition. Originally the content of three lectures given in Rome in 1993 - "The Frontiers of Nonsense", "How To Become Immortal" and "Explaining the Obvious" - this work offers a study of music, as text, as performance, and as listening experience. N° de réf. du vendeur LU-9781871082654
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Paperback. Etat : New. What does it mean to understand music? What, if anything, does music mean? Composers, performers, listeners, and academics may answer these questions differently, but what sense of music do they share? When music seems unfamiliar or unlike anything we have heard before, we may say that we don't "like" it. How is taking pleasure from music related to understanding it? This book explores these and other issues as they arise in various musical contexts. Performers' interpretations may be filled with errors, after all, that then become part of a tradition; a composer's work may be variously assessed by his or her contemporaries - an account of how Beethoven's reputation was established so early is included - and how musical analysis can mislead as well as enhance understanding of a composition. Originally the content of three lectures given in Rome in 1993 - "The Frontiers of Nonsense", "How To Become Immortal" and "Explaining the Obvious" - this work offers a study of music, as text, as performance, and as listening experience. N° de réf. du vendeur LU-9781871082654
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Etat : New. 1998. 2nd Revised edition. Paperback. Originally the content of three lectures given in Rome in 1993, this work offers a study of music, as text, as performance, and as listening experience. Num Pages: 148 pages, music examples. BIC Classification: AVA. Category: (G) General (US: Trade); (P) Professional & Vocational; (UP) Postgraduate, Research & Scholarly; (UU) Undergraduate. Dimension: 193 x 128 x 9. Weight in Grams: 186. . . . . . Books ship from the US and Ireland. N° de réf. du vendeur V9781871082654
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