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General reading
Aaron Ridley, The Philosophy of Music: theme
and variations (Edinburgh University Press, 2004)
It may seem curious to recommend as a general text a book that assumes
you've read the books that come later on in the course; but it's
very readable and it will give you a sensible point of view from
which to evaluate their arguments.
Daniel Levitin, This Is Your Brain On Music
(London: Atlantic Books, 2006)
Chapters 1 & 2 will annoy you, because you know
most of this rather better yourselves, but read them anyway for
the information on acoustics. As you go on, the book will tell you
more and more that you don't know and that you'll find fascinating.
Week 1:
a) Introduction: aims, issues, overview.
b) Musicological listening and musical listening
Rose Rosengard Subotnik, 'Towards a deconstruction
of structural listening', ed. E Narmour and R Solie, Explorations
in Music, the Arts, and Ideas (New York, 1988) 87-122; Nicholas
Cook, Music, Imagination, and Culture (OUP, 1990)
Week 2:
Philosophical approaches to musical meaning and expression: Langer,
Kivy, Davies
Suzanne Langer, Philosophy in a New Key (Harvard
UP, 1942); Peter Kivy, Sound and Semblance (Princeton UP,
1984); Stephen Davies, Musical Meaning and Expression (Cornell
UP, 1994)
Week 3:
Philosophical approaches to musical performance: Goodman, Levinson,
Godlovich
Nelson Goodman, Languages of Art (Hackett,
1968); Jerrold Levinson, Music, Art, and Metaphysics (Cornell
UP, 1990); Music in the Moment (Cornell UP, 1997); Stan Godlovich,
Musical Performance: a philosophical study (Routledge, 1998);
Aaron Ridley, The Philosophy of Music: theme and variations
(Edinburgh University Press, 2004) [ch. 4]
Week 4:
Music as performance
Nicholas Cook, 'Words about music, or analysis versus
performance', in ed. Frank Agsteribbe and Peter Dejans, Theory
into Practice: composition, performance and the Listening Experience
(Leuven UP, 1999) 9-52; Nicholas Cook, 'Theorizing musical meaning',
Music Theory Spectrum 23 (2001) 170-95; Nicholas Cook, ‘Music
as Performance’. In The Cultural Study of Music: A Critical
Introduction, ed. Martin Clayton, Trevor Herbert, and Richard
Middleton (London: Routledge, 2003), 204-14
Week 5:
Acoustics and psychoacoustics
Stephen Handel, Listening (MIT Press, 1989);
ed Perry R Cook, Music, Cognition, and Computerized Sound: An
introduction to psychoacoustics (MIT Press, 1999)
Week 6:
Psychology of music perception 1: listening
Stephen Handel, Listening; ed. D Deutsch,
The Psychology of Music (New York, Academic Press, 1982);
R. Aiello and John Sloboda, Musical Perceptions (OUP, 1994);
ed. Irène Deliège & John Sloboda, Perception
and Cognition Of Music (Psychology Press, 1997); Albert Bregman,
Auditory Scene Analysis (MIT Press, 1999)
Reading Week
Week 7: Psychology of music perception
2: performance
Eric Clarke, 'Structure and expression in rhythmic
performance', in ed. Peter Howell, Ian Cross and Robert West, Musical
Structure and Cognition (Academic Press, 1985); Eric Clarke,
'Expression in performance: generativity, perception and semiosis',
in ed. John Rink, The Practice of Performance: studies in musical
interpretation (CUP, 1995) 21-54; Bruno Repp, ' The timing implications
of musical structures' in ed. David Greer, Musicology and Sister
Disciplines (Oxford, 2000) 60-70; Patrick Shove and Bruno Repp,
'Musical motion and performance: theoretical and empirical perspectives',
in ed. Rink, op. cit., 55-83.
Week 8:
Psychology of music perception 3: music and emotion
Ed. Patrick N Juslin and John A Sloboda, Music
and emotion: theory and research (OUP 2001)
Week 9:
Musical gestures and emotional gestures
Juslin & Sloboda, op. cit.; Daniel Leech-Wilkinson,
The Study of Musical Performances (book in progress), ch.
8, 'Expressive gestures'.
Week 10:
Music and meaning: conclusions
Week 11:
Essay tutorials
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