Verlag: iUniverse, 2002
ISBN 10: 0595249981 ISBN 13: 9780595249985
Anbieter: ThriftBooks-Atlanta, AUSTELL, GA, USA
Paperback. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 0.84.
Verlag: iUniverse, 2002
ISBN 10: 0595249981 ISBN 13: 9780595249985
Anbieter: Ergodebooks, Houston, TX, USA
Softcover. Zustand: Good. Arguments about musical aesthetics often degenerate into "shouting matches that end in stalemate. In Breaking the Sound Barrier, John Winsor clears the air by presenting evidence that some works are, in fact, objectively better than others. This is a particularly timely issue because a great deal of bad music is being performed in American concert halls right now and a great deal of good music isn't. If you believe that qualitative judgment in the arts is purely subjective, this book should persuade you to rethink your position. If, on the other hand, you think there is a genuine qualitative difference between one musical work and another, this book will provide you with relevant ammunition.Winsor defines music, presents some empirical evidence from the field of music psychology, relates that evidence to events in Western music history, and explains what works and what doesn'tand why. He demonstrates that from the advent of notation to the present, music has, in fact, progressed and not merely changed. He then exposes some major errors in modernist and postmodernist writing that have disrupted music's progress and recommends remedial action for restoring the mainstream literary tradition."This is a challenging and thought-provoking book."Diana Deutsch, Professor of Psychology, University of California, San Diego."John Winsor tackles big questions about music and our perceptions, comingat them head-on. He anticipates our reactions and goes a long way towardresolving nagging issues of modern music. A clear, honest book."Kile Smith, Curator, Fleisher Collection of Orchestral Music, Free Library of Philadelphia.
Verlag: iUniverse, 2002
ISBN 10: 0595249981 ISBN 13: 9780595249985
Anbieter: PBShop.store US, Wood Dale, IL, USA
PAP. Zustand: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.
Verlag: iUniverse, 2002
ISBN 10: 0595249981 ISBN 13: 9780595249985
Anbieter: booksXpress, Bayonne, NJ, USA
Soft Cover. Zustand: new.
Verlag: iUniverse, 2002
ISBN 10: 0595249981 ISBN 13: 9780595249985
Anbieter: PBShop.store UK, Fairford, GLOS, Vereinigtes Königreich
PAP. Zustand: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.
Verlag: iUniverse, 2002
ISBN 10: 0595249981 ISBN 13: 9780595249985
Anbieter: THE SAINT BOOKSTORE, Southport, Vereinigtes Königreich
Paperback / softback. Zustand: New. New copy - Usually dispatched within 4 working days.
Verlag: iUniverse, 2002
ISBN 10: 0595249981 ISBN 13: 9780595249985
Anbieter: THE SAINT BOOKSTORE, Southport, Vereinigtes Königreich
Paperback / softback. Zustand: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
Verlag: Iuniverse, 2002
ISBN 10: 0595249981 ISBN 13: 9780595249985
Anbieter: AHA-BUCH GmbH, Einbeck, Deutschland
Taschenbuch. Zustand: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Arguments about musical aesthetics often degenerate into 'shouting matches' that end in stalemate. In Breaking the Sound Barrier, John Winsor clears the air by presenting evidence that some works are, in fact, objectively better than others. This is a particularly timely issue because a great deal of bad music is being performed in American concert halls right now and a great deal of good music isn't. If you believe that qualitative judgment in the arts is purely subjective, this book should persuade you to rethink your position. If, on the other hand, you think there is a genuine qualitative difference between one musical work and another, this book will provide you with relevant ammunition. Winsor defines music, presents some empirical evidence from the field of music psychology, relates that evidence to events in Western music history, and explains what works and what doesn't - and why. He demonstrates that from the advent of notation to the present, music has, in fact, progressed and not merely changed. He then exposes some major errors in modernist and postmodernist writing that have disrupted music's progress and recommends remedial action for restoring the mainstream literary tradition.