Music with Stanley Cavell in Mind

David LaRocca (Anthology Editor)

Music with Stanley Cavell in Mind

David LaRocca (Anthology Editor)

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Description

Why does Stanley Cavell's philosophical thought matter for music? And how did Cavell's musical practice and appreciation of music give shape to his indelible philosophical claims about cinema, human speech, opera, the expression of skepticism, and ordinary language philosophy?

Music with Stanley Cavell in Mind provides a first-of-its-kind intervention by leading philosophers and scholars of music into an intellectual landscape in need of such charting. As a performer who then trained as a philosopher, the arc of Cavell's wide-ranging investigation of music maps consistently with a proximate concern for the features of human experience that involve music and sound, including the sound of prose, authorial voice (its possession, its divestment, its arrogation), the presence/problem/potentiality of silence in communication, and related features of sonic phenomena central to life lived at the scale of the everyday. Despite widespread scholarly fascination with the intersection of “Cavell” and “music”--that music is famously a core theme for him--no book like this has yet appeared. Moreover, our efforts here are addressed to the serious student (at all levels) and the general reader alike arriving from many precincts of thought and practice: musical performance, literary theory, cultural studies, musicology, and philosophy.

Overture: In Walked Stanley
Charles Bernstein, University of Pennsylvania, USA

Prelude: Sounds of Philosophy
David LaRocca, Cornell University, USA

Movement I / Measures
1. Critical Listening: An Understanding of Cavell's "An Understanding with Music"
Jean-Philippe Antoine, Université Paris 8 Vincennes-Saint Denis, France

2 Impressions of Meaning in Cavell's Life Out of Music
William Day, Le Moyne College, USA

3. Cavell on Music: As Performer, as Writer
John Harbison, Massachusetts Institute of Technology, USA

Movement II / Registers

4. "A Voice Deep Inside": Cavell, Streisand, and the Reach of Song's Inner Speech
Garrett Stewart, University of Iowa, USA

5. Cavell as Halted Traveler: The Experience of Music
Richard Eldridge, Swarthmore College, USA

6. The Sound of Reality
Jocelyn Benoist, Université of Paris 1 Panthéon-Sorbonne, France

Movement III / Recitatives

7. Something Called Perfect Pitch: Cavell and the Calling of Ordinary Language to Mind
Paul Standish, University College London Institute of Education , UK

8. Understanding Music, Understanding Persons: Cavell and the Necessity of Intentional Content
Garry L. Hagberg, Bard College, USA

9. Punk Discomposed: Staging Sincerity and Fraudulence
David LaRocca, Cornell University, USA

Movement IV / Intervals

10. Listening In: Cavell, Krenek, Cage, Reich at the Limits of Musical Meaning
Kevin C. Karnes, Emory University, USA, and John T. Lysaker, Emory University, USA

11. Cavell's Odd Couple: Schoenberg and Wittgenstein
Eran Guter, Max Stern Jezreel Valley College, Israel

12. Words Sing: Wittgenstein, Cage, and Cavell on the Poetics of Language and Music
Gordon C. F. Bearn, Lehigh University, USA

Coda: Out Waltzed Stanley
Charles Bernstein, University of Pennsylvania, USA

Acknowledgments
Contributors
Index

Product details

Published	08 Aug 2024
Format	Ebook (Epub & Mobi)
Edition	1st
Extent	320
ISBN	9798765111055
Imprint	Bloomsbury Academic
Publisher	Bloomsbury Publishing

Anthology Editor

David LaRocca

David LaRocca, Ph.D., is the author or contributin…

A collection of exciting new essays by philosophers and practitioners of music in the full breadth of its range of art and thought; an exemplary display of versality and insight.

Lydia Goehr, Fred and Fannie Mack Professor of Humanities, Columbia University, USA
At last, a comprehensive book on the rich and beguiling relationships between philosophy and music in Cavell's work. These essays-which mix biography, philosophy, and critical reflection with a wide array of musical examples-give us deep insights about the ways music is inseparable from the varied forms, passions, and intentionalities of human life.

Michael Gallope, Associate Professor, Cultural Studies & Comparative Literature and Music, University of Minnesota, USA
In his memoir, Cavell recalls a famous anecdote. During a performance, the jazz saxophonist Ben Webster once stopped improvising on “Blue Skies” and afterwards when someone asked why he stopped playing so abruptly, he replied that he forgot the words. The authors of these essays recall, deeply and imaginatively, the music woven into Stanley Cavell's words and the meanings intimated by varied musickings, some of which he probed with his incomparable acumen, other forms he did not (e.g., punk). The range of referents runs from Schoenberg, Webern, and Cage to Elvis Costello without being strained or contrived. The contributors include a composer along with professors of music, education, history, and philosophy. Each in a singular way offers a lesson in listening to the music of Cavell's words and the meanings made available by a wide range of musical genres.

Vincent Colapietro, Professor Emeritus of Philosophy & African American Studies, Pennsylvania State University, USA
Stanley Cavell held that the activity of philosophizing about the nature of art is continuous with the activity of interpreting specific artworks. He thought that it is through our critical engagement with specific artworks that we learn what is possible in art. This collection of essays is a wonderful tribute to this dimension of Cavell's thought. Through critically engaging with both Cavell and specific musical works, we learn about Cavell, music, and the nature of art more generally.

Zed Adams, Associate Professor of Philosophy and Co-Director, Institute for Philosophy and the New Humanities, The New School, USA