The improvisation of musical dialogue : a phenomenology of music making

This book is an important contribution to the philosophy of music. Whereas most books in this field focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers the radical thesis that it is improvisation that is primary in the moment of music making. Succinct and lucid, the book brings together a wide range of musical examples from classical music, jazz, early music and other genres. It offers a rich tapestry incorporating both analytic and continental philosophy, musicology and performance-practice issues. It will be a provocative read for philosophers of art and musicologists and, because it eschews technicality, should appeal to general readers, especially those who perform. Cover......Page 1 Half-title......Page 3 Title......Page 5 Copyright......Page 6 Dedication......Page 7 Contents......Page 9 Preface......Page 11 ONE Between Composition and Performance......Page 17 Composition, Works, and Performance......Page 19 Beethoven or Rossini?......Page 31 TWO Composing......Page 49 Die Fassung letzter Hand......Page 68 Unbestimmtheitsstellen and the Irrelevanzsphäre......Page 93 Restoring Early Music......Page 112 FOUR The Ergon within Energeia......Page 141 The Elusive “Work Itself”......Page 142 Premeditated Spontaneity......Page 149 Dwelling Musically......Page 163 On Musical Identity......Page 170 FIVE Being Musical with the Other......Page 179 The Voice of the Other......Page 180 Living Voices......Page 194 The Responsibility of Stewardship......Page 203 Index......Page 209 Whereas most books on the philosophy of music focus on the creation and reproduction of music, Bruce Benson's concern is the phenomenology of music making as an activity. He offers a radical thesis that improvization is of primary importance at the moment of music making. The book brings together a wide range of musical examples from classical music, jazz, early music and other genres. Incorporating analytic and continental philosophy, musicology and performance-practice issues, it is a provocative study for philosophers of art and musicologists. It also appeals to general readers; especially those who perform. Cover 1 Half-title 3 Title 5 Copyright 6 Dedication 7 Contents 9 Preface 11 ONE Between Composition and Performance 17 Composition, Works, and Performance 19 Beethoven or Rossini? 31 TWO Composing 49 Die Fassung letzter Hand 68 THREE Performing 93 Unbestimmtheitsstellen and the Irrelevanzsphäre 93 Restoring Early Music 112 FOUR The Ergon within Energeia 141 The Elusive “Work Itself” 142 Premeditated Spontaneity 149 Dwelling Musically 163 On Musical Identity 170 FIVE Being Musical with the Other 179 The Voice of the Other 180 Living Voices 194 The Responsibility of Stewardship 203 Index 209 "What takes place when a composer creates a piece of music? To what extent is a performer part of the creative process? Although the dominant paradigm for music making in our era has been that of creation and reproduction - in which composers are the true creators and performers primarily carry out their wishes - does that way of thinking reflect actual musical practice?" "Succinct and lucid, not only will this important book be a provocative read for philosophers of art and musicologists, it should also appeal to general readers, especially those who compose and perform music."--Jacket This book is an important contribution to the philosophy of music. Bruce Benson's concern is the phenomenology of music making as an activity. He offers a radical thesis that it is improvisation that is primary in the moment of music making. It will be a provocative read. Between composition and performance Composing : from Ursprung to Fassung letzter Hand Performing : the improvisation of preservation The Ergon with Energeia Being musical with the other.

this Book Is An Important Contribution To The Philosophy Of Music.