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By Christopher Norris

What is a musical paintings? What are its identity-conditions and the factors (if any) that they set for a reliable, clever, and musically perceptive act of functionality or audition? may still the work-concept henceforth be dissolved as a few New Musicologists could have it into some of the, ever-changing socio-cultural or ideological contexts that make up its reception-history so far? Can track be regarded as owning sure attributes, structural gains, or intrinsically useful characteristics which are response-transcendent, i.e., that will consistently elude or surpass the simplest country of (current or destiny) trained opinion?

These are many of the questions that Christopher Norris addresses in terms of a sustained serious engagement with the hot Musicology and different debates in fresh philosophy of track. His ebook places the case for a certified Platonist process that might admire the relative autonomy of musical works as gadgets of kind of enough knowing, appreciation, and evaluative judgement. even as this strategy would depart room for listeners percentage the phenomenology of musical adventure in as far as these works inevitably count for his or her repeated realisation from one functionality or audition to the following upon yes subjectively salient modalities of human perceptual and cognitive reaction.

Norris argues for a extra philosophically and musically knowledgeable remedy of those concerns that mixes the easiest insights of the analytic and the continental traditions. maybe the main virtue of Norris's booklet, actual to this twin orientation, is its means of elevating such concerns via a continuing entice the bright reality of track as a problem to philosophic proposal. it is a attention-grabbing examine of musical realizing from one of many worlds prime modern theorists.

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