Philosophical Perspectives on Music

• Acknowledgments1. Music and PhilosophyAims and AssumptionsCharacteristic Concerns of Philosophical DiscourseThe Value of Music Philosophy to the MusicianMusic from Divergent PerspectivesPerspectivism Versus the God's-eye View2. Music as ImitationAppearance and Reality, Deception and Truth: Plato's Music PhilosophyThe Continuing Greek Legacy: AristotleNeoplatonic Elaborations3. Music as IdeaRationalism and EmpiricismKant: 'Aesthetic' Experience, Beauty, and TasteSchiller: 'Aesthetic' EducationHegel: The Ascent Toward Absolute IdeaSchopenhauer: Lifting the Rational Veil4. Music as Autonomous FormAncient Precursors: Aristoxenus, Phildemus, SextusHanslick: Tonally Moving FormsGurney: The Power of SoundLeonard B. Myer: Expectation, Emotion, and Musical Meaning5. Music as SymbolLanger: Conceiving the Patterns of SentienceGoodman: Music and World MakingNattiez: Signs, Reference, and Infinite Musical Interpretants6. Music as ExperiencedPhenomenology: Origins and AssumptionsMerleau-Ponty: The Bodily Basis of Knowing and BeingDufrenne: The Musical 'Quasi-Subject'Clifton: The Geometry of Musical ExperienceBurrows: Sonorously Experiencing the WorldStubley: The Transformative Power of Musical PerformanceMusic as Embodied Experience: The Body in the Mind7. Music as Social and Political ForceAdorno: The Critical Social Function of MusicAttali: The Political Economy of Music8. Contemporary Pluralist PerspectivesFeminist PerspectivesMusic from Feminist PerspectivesThe Postmodern EthosNotesBibliographySubject IndexName Index

Bowman displays a wide knowledge of the history of philosophy of music and familiarity with several important contemporary perspectives ... it introduces a wide range of positions. Another valuable feature of the book is that each philosopher's views on music are put in the context of his other beliefs ... Bowman provides accurate accounts of the positions he describes. The book is the product of considerable scholarship. Another plus is that Bowman is surely right to think that students can not appreciate a philosopher's views on music without some knowledge of his philosophical system ... Bowman is to be commended for undertaking to introduce musicians to philosophy of music. He believes, and is right to believe that unexamined music is not worth performing ... ... sophisticated students can be referred to this volume in some circumstances. James O. Young, The Journal of Aesthetics and Art Criticism, Winter 1999 (57:1) Bowman's volume provides a useful survey of philosophical aesthetics of music Andy Hamilton, Durham University, British Jrnl of Aesthetics, vol 39, no 3, 1999 a deeply pluralist book ... Wayne Bowman's pluralism does not lead him to produce a rootless, or even routeless, book, since he still manages to accept that the philosophy of music has had a history Anthony Pryer, Journal of the Royal Musical Association, 124 (1999) Bowman's method of treating his material is well considered. The scope of discussion is admirable. About twenty different views of music are given a thorough presentation ... a unique source for anyone interested in the nature of music. Pentti Maattanen, British Journal of Music Education, Vol 16 No 3, 1999