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001 305186
003 IT-RoAPU
005 20250106150403.0
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008 240826t20242003nju fo d z eng d
020 _a9780691268385
_qPDF
024 7 _a10.1515/9780691268385
_2doi
035 _a(DE-B1597)9780691268385
035 _a(DE-B1597)694801
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aMUS006000
_2bisacsh
082 0 4 _a781.1/7
_221
084 _aonline - DeGruyter
100 1 _aJankélévitch, Vladimir
_eautore
245 1 0 _aMusic and the Ineffable /
_cVladimir Jankélévitch.
264 1 _aPrinceton, NJ :
_bPrinceton University Press,
_c[2024]
264 4 _c2003
300 _a1 online resource (200 p.) :
_b7 musical examples.
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tThe Charme of Jankélévitch --
_tJankélévitch’s Singularity --
_tPreface MUSIC AND THE INEFFABLE --
_tOne THE “ETHICS” AND THE “METAPHYSICS” OF MUSIC --
_tORPHEUS OR THE SIRENS? --
_tBEARING A GRUDGE AGAINST MUSIC --
_tMUSIC AND ONTOLOGY --
_tTwo THE INEXPRESSIVE “ESPRESSIVO” --
_tTHE MIRAGE OF DEVELOPMENT. THE REPRISE --
_tTHE ILLUSION OF EXPRESSION --
_tIMPRESSIONISM --
_tTHE INEXPRESSIVE AND OBJECTIVITY --
_tVIOLENCE --
_tEXPRESSING NOTHING WHATSOEVER. AFFECTED INDIFFERENCE --
_tTHE OPPOSITE, SOMETHING ELSE, LESS. HUMOR, ALLUSION, AND UNDERSTATEMENT --
_tTO DESCRIBE, TO EVOKE, TO RECOUNT ALONG ROUGH LINES --
_tTO SUGGEST IN RETROSPECT --
_tTO EXPRESS THE INEXPRESSIBLE INTO INFINITY --
_tSERIOUS AND FRIVOLOUS, DEEP AND SUPERFICIAL. MUSICAL AMBIGUITY --
_tTHE INEFFABLE AND THE UNTELLABLE. THE MEANING OF MEANING --
_tThree THE CHARM AND THE ALIBI --
_tTHE POETIC OPERATION --
_tFEVRONIYA, OR INNOCENCE --
_tTHE SPATIAL MIRAGE --
_tTEMPORALITY AND THE NOCTURNE --
_tDIVINE INCONSISTENCY. THE INVISIBLE CITY OF KITEZH --
_tTHE BERGAMASQUE CHARM. MELODY AND HARMONY --
_tALLEGRETTO BERGAMASQUE. PIANISSIMO SONORE, FORTE CON SORDINA --
_tWISDOM AND MUSIC --
_t“LAETITIAE COMES” --
_tFour MUSIC AND SILENCE --
_tNotes --
_tIndex of Names
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThe classic work on the philosophy of music—now available in English to a new generation of readersVladimir Jankélévitch left behind a remarkable œbody of work steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics and ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense.Music, Jankélévitch argues, is not a hieroglyph, not a language or sign system; nor does it express emotions, depict landscapes or cultures, or narrate. On the other hand, music cannot be imprisoned within the icy, morbid notion of pure structure or autonomous discourse. Yet if musical works are not a cipher awaiting the decoder, music is nonetheless entwined with human experience, and with the physical, material reality of music in performance. Music is ";ineffable,"; as Jankélévitch puts it, because it cannot be pinned down, and has a capacity to engender limitless resonance in several domains. Jankélévitch's singular work on music was central to such figures as Roland Barthes and Catherine Clément, and the complex textures and rhythms of his lyrical prose sound a unique note, until recently seldom heard outside the francophone world.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Aug 2024)
650 0 _aMusic
_xPhilosophy and aesthetics.
650 7 _aMUSIC / Genres & Styles / Classical.
_2bisacsh
653 _aAbsurdity.
653 _aAccidental (music).
653 _aAmbiguity.
653 _aAntithesis.
653 _aAntoine (musician).
653 _aAphorism.
653 _aAporia.
653 _aArt for art's sake.
653 _aAssonance.
653 _aBoredom.
653 _aCircumlocution.
653 _aClaude Debussy.
653 _aComposer.
653 _aEloquence.
653 _aErik Satie.
653 _aEvocation.
653 _aFarce.
653 _aGamut.
653 _aGrandiosity.
653 _aHeterophony.
653 _aHumoresque.
653 _aHyperbole.
653 _aIgor Stravinsky.
653 _aImitation (music).
653 _aImmanence.
653 _aImprovisation.
653 _aIntonation (music).
653 _aMeanness.
653 _aMelodrama.
653 _aMode (music).
653 _aModest Mussorgsky.
653 _aModulation (music).
653 _aMonody.
653 _aMusic Is.
653 _aMusical expression.
653 _aMusical improvisation.
653 _aMusical language.
653 _aMusical notation.
653 _aMusical technique.
653 _aMusicality.
653 _aMusicology.
653 _aNominalism.
653 _aOratorio.
653 _aPessimism.
653 _aPhilosophy of music.
653 _aPhrase (music).
653 _aPianissimo.
653 _aPicturesque.
653 _aPlotinus.
653 _aPoetry.
653 _aPolyphony.
653 _aPolytonality.
653 _aPopular music.
653 _aPretext.
653 _aProgram music.
653 _aPuffery.
653 _aRepercussion.
653 _aRomanticism.
653 _aSarcasm.
653 _aSinging.
653 _aSoliloquy.
653 _aSomnolence.
653 _aStaccato.
653 _aSymphonic poem.
653 _aSymptom.
653 _aThe Conjuring.
653 _aTonality.
653 _aTrill (music).
653 _aUncertainty.
653 _aWorld of Noise.
700 1 _aAbbate, Carolyn
_eautore
700 1 _aDavidson, Arnold I.
_eautore
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780691268385?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9780691268385
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780691268385/original
942 _cEB
999 _c305186
_d305186