Music and the Ineffable / / Vladimir Jankélévitch.

• VerfasserIn: Jankélévitch, Vladimir,
• MitwirkendeR: Abbate, Carolyn,; Davidson, Arnold I.,
• Place / Publishing House: Princeton, NJ : : Princeton University Press, , [2024]; ©2003
• Year of Publication: 2024
• Language: English
• Physical Description: 1 online resource (200 p.) :; 7 musical examples.
• Other title: Frontmatter --; Contents --; The Charme of Jankélévitch --; Jankélévitch’s Singularity --; Preface MUSIC AND THE INEFFABLE --; One THE “ETHICS” AND THE “METAPHYSICS” OF MUSIC --; ORPHEUS OR THE SIRENS? --; BEARING A GRUDGE AGAINST MUSIC --; MUSIC AND ONTOLOGY --; Two THE INEXPRESSIVE “ESPRESSIVO” --; THE MIRAGE OF DEVELOPMENT. THE REPRISE --; THE ILLUSION OF EXPRESSION --; IMPRESSIONISM --; THE INEXPRESSIVE AND OBJECTIVITY --; VIOLENCE --; EXPRESSING NOTHING WHATSOEVER. AFFECTED INDIFFERENCE --; THE OPPOSITE, SOMETHING ELSE, LESS. HUMOR, ALLUSION, AND UNDERSTATEMENT --; TO DESCRIBE, TO EVOKE, TO RECOUNT ALONG ROUGH LINES --; TO SUGGEST IN RETROSPECT --; TO EXPRESS THE INEXPRESSIBLE INTO INFINITY --; SERIOUS AND FRIVOLOUS, DEEP AND SUPERFICIAL. MUSICAL AMBIGUITY --; THE INEFFABLE AND THE UNTELLABLE. THE MEANING OF MEANING --; Three THE CHARM AND THE ALIBI --; THE POETIC OPERATION --; FEVRONIYA, OR INNOCENCE --; THE SPATIAL MIRAGE --; TEMPORALITY AND THE NOCTURNE --; DIVINE INCONSISTENCY. THE INVISIBLE CITY OF KITEZH --; THE BERGAMASQUE CHARM. MELODY AND HARMONY --; ALLEGRETTO BERGAMASQUE. PIANISSIMO SONORE, FORTE CON SORDINA --; WISDOM AND MUSIC --; “LAETITIAE COMES” --; Four MUSIC AND SILENCE --; Notes --; Index of Names
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780691268385
• DOI: 10.1515/9780691268385?locatt=mode:legacy
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Vladimir Jankélévitch.

The classic work on the philosophy of music—now available in English to a new generation of readersVladimir Jankélévitch left behind a remarkable œbody of work steeped as much in philosophy as in music. His writings on moral quandaries reflect a lifelong devotion to music and performance, and, as a counterpoint, he wrote on music aesthetics and on modernist composers such as Fauré, Debussy, and Ravel. Music and the Ineffable brings together these two threads, the philosophical and the musical, as an extraordinary quintessence of his thought. Jankélévitch deals with classical issues in the philosophy of music, including metaphysics and ontology. These are a point of departure for a sustained examination and dismantling of the idea of musical hermeneutics in its conventional sense.Music, Jankélévitch argues, is not a hieroglyph, not a language or sign system; nor does it express emotions, depict landscapes or cultures, or narrate. On the other hand, music cannot be imprisoned within the icy, morbid notion of pure structure or autonomous discourse. Yet if musical works are not a cipher awaiting the decoder, music is nonetheless entwined with human experience, and with the physical, material reality of music in performance. Music is ";ineffable,"; as Jankélévitch puts it, because it cannot be pinned down, and has a capacity to engender limitless resonance in several domains. Jankélévitch's singular work on music was central to such figures as Roland Barthes and Catherine Clément, and the complex textures and rhythms of his lyrical prose sound a unique note, until recently seldom heard outside the francophone world.