First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

"This innovative volume argues that any particular kind of music can only be understood in terms of the criteria of the group which makes and appreciates that music. This theme is in sharp contrast to established attitudes to music which utilize 'objectively' conceived aesthetic. These attitudes are revealed in the assumptions underlying most musicology and musical aesthetics including, perhaps paradoxically, the work of a number of cultural radicals such as Lukacs and Adorno. On a more practical level, they manifest themselves (...) both in music education policies and in the policies of arts and broadcasting administrators, who have the power to promote some kinds of music above others. (shrink)

The Phenomenology of Internal Time-Consciousness is a translation of Edmund Husserl's Vorlesungen zur Phänomenologie des inneren Zeitbewußtseins. The first part of the book was originally presented as a lecture course at the University of Göttingen in the winter semester of 1904–1905, while the second part is based on additional supplementary lectures that he gave between 1905 and 1910. In these essays and lectures, Husserl explores the terrain of consciousness in light of its temporality. He identifies two categories of temporality—retention and (...) protention—and outlines how temporality provides the form for perception, phantasy, imagination, memory, and recollection. He demonstrates a distinction between cosmic and phenomenological time and explores the relevance of phenomenological time for the constitution of temporal objects. The ideas Husserl developed here are explored further in his Ideas and were pursued until the end of his philosophical career. (shrink)

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

he study of music in its social context has expanded rapidly over the last fifteen years, yet little of this work discusses the music itself: the processes, textures and structures of sound which so powerfully affect us as individuals. Music as Social Text d begins by analysing the forces which have made this kind of discussion difficult within the intellectual tradition of the western world. The book argues that a society in which reality is grasped in an overwhelmingly visual way (...) has difficulty with expression that is non-designative in its use of sound. Shepherd moves on to develop a framework for the social analysis of music as sound, and the way in which music can be highly individualizing at the same time as powerfully social. (shrink)

PRELIMINARIES Hysterical trading in art AT THE PRESENT TIME, when a great amount of music is being both composed and heard, a great deal is also being ...

An ethnographer's account of his study of jazz-piano playing, which led to discoveries concerning the ways his hands learned about the keyboard and improvisation, sheds light on the nature and range of improvised conduct.