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Music as an Art, by Roger Scruton
PDF Download Music as an Art, by Roger Scruton
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Review
“Scruton fastidiously argues for tonality and expression as significant components of musical compositions in this enlightening academic work.†―Publishers Weekly
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About the Author
Sir Roger Scruton is the author of Understanding Music and The Aesthetics of Music as well as numerous bestselling books of philosophy, history, fiction and criticism. He is a Fellow of the Royal Society of Literature, a Fellow of the British Academy and an Honorary Bencher of the Inner Temple. He currently teaches an MA course in philosophy for the University of Buckingham.
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Product details
Hardcover: 272 pages
Publisher: Bloomsbury Continuum (November 6, 2018)
Language: English
ISBN-10: 1472955714
ISBN-13: 978-1472955715
Product Dimensions:
6.4 x 1 x 9.6 inches
Shipping Weight: 1.2 pounds (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
2 customer reviews
Amazon Best Sellers Rank:
#141,653 in Books (See Top 100 in Books)
Of Sir Roger's numerous works, this is the first I've read and I learned a good deal from it. The author has sections here on a wide range of musical topics: discussions of tonality (and its enemies!), music and the moral life, music and cognitive science, along with a collection of essays on figures such as Rameau, Schubert, Nietzsche, Wagner, Benjamin Britten and Pierre Boulez (who comes in for quite a thrashing here).His description of the lost social world of music in which we enjoyed the common practice of tonal harmony is striking to anyone old enough (like myself) to recall how it "united composers, performers, and listeners in a shared language, and people played instruments at home with an intimate sense of belong to the music they made, just as the music belonged to them...Music took its place in the ceremonies and celebrations of ordinary life alongside the rituals of everyday religion and the forms of good manners."After emphasizing that classic music, unlike popular music, requires a kind of sustained attention (his example here being Schubert's Death and the Maiden string quartet), the author offers the following wonderful thought: "It is in this way that we are consoled by music...namely, that it provides order and completion to states of being that drift through our lives in fragmentary or inconclusive ways." The idea of classical music as consolation had not occurred to me but it seems very apt.Readers wondering why all the fuss about musical modernism and atonality (as in Schoenberg and Webern) will find a chapter illuminating that cultural episode which Scruton characterizes as a triumph of ideology (especially in Adorno's theories) over "a shared intentional order" (that of tonality), one created by no one nor any one group, over centuries of time.Scruton's elegaic bent comes out occasionally, as when he notes: "The very language of English Romanticism, from Parry and Stanford through Elgar and Holst to Vaughan Williams, Ireland and Bax, is saturated with the idiom of the hymnal" [Hymns Ancient and Modern, 1861].His final chapter ("The Culture of Pop") contains some interesting observations on that genre's perpetual dead end, artistically speaking, but I was more struck by the author's surprising display of knowledgeable references to several rather unScrutonian artists (Metallica? Johnny Rotten?).I suspect this is one of Sir Roger's better books, as it is mostly an agapeic exercise, born of his love for classical music rather than from some ressentiment toward those damned Frankfurt School chaps and their devilish influence, etc.
Sir Roger's essays in this book cover a vast area of problems, and this book should not be read as a novel. This can only frustrate you; the problems discussed are too dense. But if you take it in small portions, all the essays are marvelous. The essence of all these is condensed in the following quote from the essay "German Idealism and the Philosophy of Music": "Listening to a great work of music we feel that we are gaining insight into the deepest mysteries of being (...)" And in the entire book Scruton explores this mystical connection between organized sound and the human soul. It is a Euro-centered, traditionalist, conservative approach, which sees music as an elitist, exclusive art. So, if you are in the Kum-Ba-Yah camp, worshiping at the altar of muticulturalism as a supreme artistic value, you will not particularly like this book as you will not like any of Scruton's writings. For great European Classical music, a bit like Kabbalah, has never been meant to open its secrets to everyone. Sir Rogers understands many of these secrets and shares them with you. The writing is much more relaxed, entertaining, and easily digestible than Sctuton's very dense "The Asethetics of Music."
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