Classical Music, Why Bother?
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A01=Joshua Fineberg
aesthetic theory
appreciation
arnold
Author_Joshua Fineberg
Basic Design Features
Beethoven
Cat Walking
Category=AV
classes
Computer Engraving
Conlon Nancarrow
contemporary composition analysis
Design Space
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
equal
Equal Temperament
evaluating artistic merit in culture
Extraterrestrial
Follow
Harmonic Series
Hugues Dufourt
intrinsic musical value
language
Mozart
multimedia art interpretation
Music Appreciation Class
music cognition research
musical
Musical Language
Necker Cube
Normative Rightness
Octave Equivalency
schoenberg
Small Design Space
Sonata Form
spectral
Spectral Composers
Spectral Movement
Spectral Music
Star Anise
temperament
tristan
Tristan Murail
universal grammar in music
Vice Versa
Product details
- ISBN 9780415971744
- Weight: 330g
- Dimensions: 152 x 229mm
- Publication Date: 16 Jun 2006
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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The famous quip I don't know much about art, but I know what I like sums up many people's ideas about how to judge a work of art; but there are inherent limitations if we rely on immediate impressions in judging what should be enduring products of our culture. While some might criticize this as a return to elitism, Joshua Fineberg argues that without some way of determining intrinsic value, there can be no movement forward for creators or their audience. He draws on contemporary thought about Design space and Universal Grammar to show how intrinsic values can be rediscovered. He then looks at the importance of multimedia in allowing multiple points of entry for the discovering of new works, finally showing how the composer can Design music for human beings--creating a kind of art that can preserve the research agenda of conceptual work without renouncing the understanding of human listeners and performers embodied by craft. Classical Music: Why Bother? will intrigue all listeners of contemporary music, students of musical thought, and composers-but it will also interest students of contemporary aesthetics. It answers the age-old question How can we bring a new audience to contemporary art? - and challenges both the creators and their audience to broaden their ideas about what is valuable and lasting in today's culture.
Joshua Fineberg is the John L. Loeb Associate Professor of the Humanities at Harvard University and Associate Director of the Harvard University Studio for Electroacoustic Composition. He is a well-known composer whose works have been performed around the world.
