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001 ocn862091441;

003 OCoLC;

005 20140909123459.0;

008 130524t20142014enk b 001 0 eng d;

010 a| 2013941290;

020 a| 9780199682713 (hbk.);

020 a| 0199682712 (hbk.);

035 a| (Sirsi) o862091441;

035 a| (OCoLC)862091441;

049 a| EREM;

050 00 a| ML3830b| .Y68 2014;

082 04 a| 781.112| 23;

100 1 a| Young, James O.,d| 1957-e| author.=| ^A505173;

245 10 a| Critique of pure music /c| James O. Young.;

250 a| First edition.;

264 1 a| Oxford :b| Oxford University Press,c| 2014.;

300 a| xi, 199 pages ;c| 23 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 185-196) and index.;

505 0 a| Music and expressiveness -- Music and the arousal of emotion -- The content of music -- Music and lyrics -- The value of music.;

520 a| "Why do we value music? Many people report that listening to music is one of life's most rewarding activities. This book seeks to explain why this is so. Formalists tell us that music is appreciated as pure, contentless form. On this view, listeners receive pleasure, or a pleasurable "musical" emotion, when they explore the abstract patterns found in music. Music, formalists believe, does not arouse ordinary emotions such as joy, melancholy or fear, nor can it represent emotion or provide psychological insight. Young holds that formalists are wrong on all counts. Drawing upon the latest psychological research, he argues that music is expressive of emotion by resembling human expressive behaviour. By resembling human expressive behaviour, music is able to arouse ordinary emotions in listeners. This, in turn, makes possible the representation of emotion by music. The representation of emotion in music gives music the capacity to provide psychological insight-into the emotional lives of composers, and the emotional lives of individuals from a variety of times and places. And it is this capacity of music to provide psychological insight which explains a good deal of the value of music, both vocal and purely instrumental. Without it, music could not be experienced as profound. Philosophers, psychologists, musicians, musicologists, and music lovers will all find something of interest in this book.;

650 0 a| Musicx| Psychological aspects.=| ^A106790;

650 0 a| Musicx| Philosophy and aesthetics.=| ^A18895;

650 0 a| Emotions in music.=| ^A759130;

650 0 a| Absolute music.=| ^A435386;

994 a| C0b| ERE;

596 a| 3;

998 a| 3510608;

999 a| ML3830 .Y68 2014w| LCc| 1i| 30372016101252d| 4/28/2016e| 7/1/2015f| 4/25/2024g| 3l| MSTm| JMUSICn| 1r| Ys| Yt| MGESBKu| 9/9/2014x| BOOKz| MCIRCo| .STAFF. jcdh; enhanced 1/21/24 -jjab;

Critique of pure music / James O. Young.

Author/creator	Young, James O., 1957- author.
Format	Book
Edition	First edition.
Publication	Oxford : Oxford University Press, 2014.
Copyright Date	©2014
Description	xi, 199 pages ; 23 cm
Subjects	Music--Psychological aspects. Music--Philosophy and aesthetics. Emotions in music. Absolute music.

Contents	Music and expressiveness -- Music and the arousal of emotion -- The content of music -- Music and lyrics -- The value of music.
Abstract	"Why do we value music? Many people report that listening to music is one of life's most rewarding activities. This book seeks to explain why this is so. Formalists tell us that music is appreciated as pure, contentless form. On this view, listeners receive pleasure, or a pleasurable "musical" emotion, when they explore the abstract patterns found in music. Music, formalists believe, does not arouse ordinary emotions such as joy, melancholy or fear, nor can it represent emotion or provide psychological insight. Young holds that formalists are wrong on all counts. Drawing upon the latest psychological research, he argues that music is expressive of emotion by resembling human expressive behaviour. By resembling human expressive behaviour, music is able to arouse ordinary emotions in listeners. This, in turn, makes possible the representation of emotion by music. The representation of emotion in music gives music the capacity to provide psychological insight-into the emotional lives of composers, and the emotional lives of individuals from a variety of times and places. And it is this capacity of music to provide psychological insight which explains a good deal of the value of music, both vocal and purely instrumental. Without it, music could not be experienced as profound. Philosophers, psychologists, musicians, musicologists, and music lovers will all find something of interest in this book.
Bibliography note	Includes bibliographical references (pages 185-196) and index.
LCCN	2013941290
ISBN	9780199682713 (hbk.)
ISBN	0199682712 (hbk.)

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Music	Music Stacks	ML3830 .Y68 2014	✔ Available	Place Hold

Critique of pure music / James O. Young.

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