Nietzsche and Music

2021 ◽  
Vol 50 (1) ◽  
pp. 329-339
Author(s):  
Venessa Ercole
Keyword(s):  
New Approaches ◽  
Art Form ◽  
Rigorous Treatment ◽  
Philosophical Project ◽  
The Relationship

Abstract As the relationship between music and philosophy in Nietzsche’s thought and life continues to fascinate, new approaches to the treatment of music in Nietzsche studies have emerged which take seriously the importance of music, not only in Nietzsche’s life, but for his philosophical project as a whole. While Nietzsche’s often-quoted claim that life without music would be a mistake was once treated as a quip, the quality and breadth of the works reviewed here demonstrate that this invaluable area of Nietzsche’s thought is finally receiving the rigorous treatment it deserves. The works below each offer new and valuable insights on this exciting and growing area of Nietzsche studies which aid us in understanding where to place Nietzsche’s most loved art form in the framework of his philosophy.

Nietzsche and Music

2021 ◽  
Vol 50 (1) ◽  
pp. 329-339
Author(s):  
Venessa Ercole
Keyword(s):  
New Approaches ◽  
Art Form ◽  
Rigorous Treatment ◽  
Philosophical Project ◽  
The Relationship

Abstract As the relationship between music and philosophy in Nietzsche’s thought and life continues to fascinate, new approaches to the treatment of music in Nietzsche studies have emerged which take seriously the importance of music, not only in Nietzsche’s life, but for his philosophical project as a whole. While Nietzsche’s often-quoted claim that life without music would be a mistake was once treated as a quip, the quality and breadth of the works reviewed here demonstrate that this invaluable area of Nietzsche’s thought is finally receiving the rigorous treatment it deserves. The works below each offer new and valuable insights on this exciting and growing area of Nietzsche studies which aid us in understanding where to place Nietzsche’s most loved art form in the framework of his philosophy.

Contemplating Framing: Unpacking the Possibilities of Printmaking in Narrative Inquiry

2021 ◽  
pp. 194084472199108
Author(s):  
Michelle Lavoie ◽  
Vera Caine
Keyword(s):  
Qualitative Research ◽  
Young Adults ◽  
Narrative Inquiry ◽  
School Children ◽  
Research Methodology ◽  
Visual Narrative ◽  
Refugee Families ◽  
Art Form ◽  
Qualitative Research Methodology ◽  
The Relationship

In this paper, we explore, name, and unpack the possibilities that printmaking, as an art form, holds in visual narrative inquiry. We also explore the relationship between visual narrative inquiry and narrative inquiry, a relational qualitative research methodology that attends to experiences. Drawing on two different ongoing narrative inquiry studies, where we engage with either trans young adults or refugee families from Syria with pre-school children, we explore how printmaking practices facilitate processes of inquiry. The etymology of the word “frame” helps us understand framing as a process that is future oriented and reflects a sense of doing, making, or preforming. In this way, framing allows us to see otherwise, to respond to and with participants, and to engage with experiences in ways that open new possibilities of inquiry.

Representations of Music and Musicians in the Sanskrit Epics: The Rāmāyaṇa and the Mahābhārata

2020 ◽  
Vol 47 (2) ◽  
pp. 247-262
Author(s):  
Kaustubh Gaurh
Keyword(s):  
Social Factors ◽  
Musical Thought ◽  
Art Form ◽  
Time Period ◽  
Literary Sources ◽  
First Millennium ◽  
The Relationship

The aim of this study is to understand the ‘idea’ of music that existed in early India in the first millennium bce. Observing the historiographical trends that have emerged in the historical studies of music, it can be seen that there is scarcity of sources to study the kind of music that was practised in this time period. But the approach presented here deals with the traces of music in the literary sources (the Sanskrit epics: the Rāmāyaṇa and the Mahābhārata) which cover the representations of music and musicians. This would help us infer the nature of musical thought that evolved in early India. 1 The objective is to study the relationship between an art form and the society, by looking at ‘art in society’, not ‘society in art’ to see how music was conditioned by early Indian social factors. 2 After discussing the sources used for the study, a range of philosophical, material and societal aspects are addressed by looking at how the societies in early India engaged themselves with music.

Politics and the Reception of Andrew Lloyd Webber’sThe Phantom of the Opera

2014 ◽  
Vol 26 (3) ◽  
pp. 271-287
Author(s):  
Amanda Eubanks Winkler
Keyword(s):  
Cultural Context ◽  
The Political ◽  
Government Subsidy ◽  
Critical Response ◽  
Elite Culture ◽  
Art Form ◽  
The Government ◽  
Reagan Era ◽  
Political Economic ◽  
The Relationship

AbstractThis article analyses the complicated and conflicted critical response to Andrew Lloyd Webber’sThe Phantom of the Operawithin the political, economic and cultural context of the Thatcher/Reagan era. British critics writing for Conservative-leaning broadsheets and tabloids took nationalist pride in Lloyd Webber’s commercial success, while others on both sides of the Atlantic claimed thatPhantomwas tasteless and crassly commercial, a musical manifestation of a new Gilded Age. Broader issues regarding the relationship between the government and ‘elite’ culture also affected the critical response. For some,Phantomforged a path for a new kind of populist opera that could survive and thrive without government subsidy, while less sympathetic critics heardPhantom’s ‘puerile’ operatics as sophomoric jibes against an art form they esteemed.

scholarly journals Law and aesthetics: critical note

2010 ◽  
Vol 6 (2) ◽  
pp. 631-640 ◽  
Author(s):  
Luis Satie
Keyword(s):  
Legal Philosophy ◽  
Philosophy Of Law ◽  
Legal Form ◽  
Critical Note ◽  
Art Form ◽  
Conservative Approximation ◽  
Conditions Of Possibility ◽  
The Relationship ◽  
The Way

It is thought in the theory and philosophy of law, aimed at discussing the conditions of possibility of rapprochement between the art form and legal form. The text investigates, dialectically, the implications for the legal philosophy of the impossibility of such approximation, and the problems in a conservative approximation. It follows that: 1) would be a loss for a reason and therefore to legal philosophy, not to communicate between art and law; 2) the relationship between legal and aesthetic standards should be guided by the critical, especially in terms of Adorno's thought. It is by overcoming the dichotomy between possibility and impossibility, opening on the idea of constellation of methodological categorical fields of law and aesthetics in their current forms, paving the way for understanding the legal form as a tragic way.

scholarly journals Preface. Religion and education

2014 ◽  
pp. 5-7
Author(s):  
Liudmyla O. Fylypovych
Keyword(s):  
Human Existence ◽  
New Approaches ◽  
The World ◽  
Information Research ◽  
External Forces ◽  
The Relationship ◽  
The Brain ◽  
Negative Sense

Religion and education are a topic that has emerged relatively recently in the Ukrainian information, research, and educational space. The relationship between religion and education meditated before, but usually in a negative sense. New circumstances also dictate new approaches to the stated topic. Polyphony of thoughts holds in itself and explicit criticism of any possibility of coexistence of religion and education, vulgarly linking religion with obscurantism, which can not bear any enlightenment, blurring the brain of a person. Such pre-historic estimates of religion are less and less popular in society, which in those years has "opened" a religion (as opposed to the present and still existing perception of it as a fantastic reflection in the heads of people of those external forces that prevail over them) as a spiritually rich reality as something that fills the meaning of human existence, defines the vocation of the person asserting it in the world, in society, in their own lives.

scholarly journals New Approaches to Documenting Performance in the Museum: Value, History, and Strategy

2021 ◽  
Author(s):  
Acatia Finbow
Keyword(s):  
Effective Activation ◽  
The Past ◽  
New Approaches ◽  
Future Value ◽  
Value History ◽  
And Performance ◽  
The Relationship ◽  
Radical Shift ◽  
Museum Value

This chapter shows how over the past two decades the relationship between the museum and performance has undergone a radical shift with the acquisition of performance-based artworks into the collection, shifting the role of the museum from that of a repository to that of a vital participant in the activation of the work. This chapter reflects on the new value this turn affords to documentation, and on how it is being used to support the effective activation of performance-based artworks in the museum. It reflects particularly on Tate’s development of documentation practices that address these new institutional needs and on how these navigate both immediate and potential future value.

scholarly journals Dysfunctional Behavior at the Workplace and Its Impact on Employees’ Job Performance

2018 ◽  
Vol 9 (4) ◽  
pp. 224 ◽  
Author(s):  
Omar Ramzy ◽  
Randa El Bedawy ◽  
Aya Maher
Keyword(s):  
Qualitative Research ◽  
Action Research ◽  
Job Performance ◽  
Organizational Performance ◽  
Structured Interview ◽  
Dysfunctional Behavior ◽  
New Approaches ◽  
Organizational Dysfunction ◽  
The Relationship

Dysfunctional behavior at the workplace reflects the behavior that violates remarkably the accepted norms at the workplace which is in turn can be destructive to overall organizational performance. This study aims to explore the relationship between dysfunctional behavior at the workplace and employees’ job performance. In order to study the issue of organizational dysfunction in Egypt, a unique organization was taken as a case study, namely SEKEM. This research is qualitative research based on the approach of Action Research. Through this approach, a semi-structured interview was designed by the researchers and used to collect data from the employees of SEKEM. As such, it is recommended to take new approaches to effectively manage dysfunctional behavior at the workplace.

The Philosophy of Theater

2020 ◽  
Author(s):  
Michael Y. Bennett
Keyword(s):  
Performance Studies ◽  
Ancient Greece ◽  
Audience Reception ◽  
The Past ◽  
Art Form ◽  
Theatrical Performance ◽  
Ontological Question ◽  
Dramatic Text ◽  
And Performance ◽  
The Relationship

Theater—i.e., traditional text-based theater—is often considered the art form that most closely resembles lived life: real bodies in space play out a story through the passage of time. Because of this, theater (or theatre) has long been a laboratory of, and for, philosophical thought and reflection. The study of philosophy and theater has a history that dates back to, and flourished in, ancient Greece and Rome. While philosophers over the centuries have revisited the study of theater, the past four decades in particular have seen a noted and substantial increase of scholarship investigating this intersection between philosophy and theater. “Philosophy of theater” is, on one hand, a “field” that is just starting to take shape and is barely over a decade old; on another hand, it is a recognized subfield both of aesthetics and of theater and performance studies. And finally, it is also an amorphous concept, either not yet fleshed out, or intentionally amorphous and proudly organic. Philosophy of theater is also sometimes referred to—or is argued to be subsumed, more broadly, in—“performance philosophy,” which also refers to a network of academics and practitioners that publishes a book series and a journal of the same name. Regardless of what it is called or how it is classified, scholarship has coalesced around some fundamental preoccupations, which are not too dissimilar to questions that arise in other philosophies of. . . (e.g., art, film, dance, etc.). The debates in philosophy of theater mostly fall into three of the main branches of philosophy: metaphysics, epistemology, and aesthetics. The major metaphysical debates center on an ontological question: What is theater? Epistemological studies tend to focus on audience reception and/or how meaning is made and/or transmitted. Finally, studies in aesthetics focus on two main questions: (1) What is theater as an art form? (2) What is the relationship between dramatic text and theatrical performance? This article is intentionally narrow in its scope, focusing on philosophy and theater traditions that came out of Greek theater and philosophy, in order to ensure a sufficient amount of depth, not (merely) breadth.

Protest and Music

2016 ◽  
Author(s):  
Sumangala Damodaran
Keyword(s):  
Conceptual Analysis ◽  
Protest Music ◽  
Post Colonial ◽  
Music And Politics ◽  
Art Form ◽  
The Social ◽  
Artistic Representation ◽  
European Colonialism ◽  
The Relationship

The relationship between music and politics and specifically that between music and protest has been relatively under-researched in the social sciences in a systematic manner, even if actual experiences of music being used to express protest have been innumerable. Further, the conceptual analysis that has been thrown up from the limited work that is available focuses mostly on Euro-American experiences with protest music. However, in societies where most music is not written down or notated formally, the discussions on the distinct role that music can play as an art form, as a vehicle through which questions of artistic representation can be addressed, and the specific questions that are addressed and responded to when music is used for political purposes, have been reflected in the music itself, and not always in formal debates. It is only in using the music itself as text and a whole range of information around its creation—often, largely anecdotal and highly context dependent—that such music can be understood. Doing so across a whole range of non-Western experiences brings out the role of music in societal change quite distinctly from the Euro-American cases. Discussions are presented about the informed perceptions about what protest music is and should be across varied, yet specific experiences. It is based on the literature that has come out of the Euro-American world as well as from parts that experienced European colonialism and made the transition to post-colonial contexts in Asia, Africa, and Latin America.

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