View all copies of this ISBN edition:. Synopsis About this title Peter Kivy presents a selection of his new and recent writings on the philosophy of music, a subject to which he has for many years been one of the most eminent contributors. Review : Kivy's discussions are useful and thought-provoking.
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New Paperback Quantity Available: 1. Published by Clarendon Press. The title, you must realize, is a Wagnerian joke by way of Nietzsche. I not believe in music as prophecy, or even as cultural seismography, and I seem to be devoting my life of late to combating the kind of romantic overvaluation of art that leads to its decline.
I have published a book recently, called Defining Russia Musically , that could be read, although I would not insist on it, as a sustained polemic against Russian exceptionalism. So it may be that I am starting out with two strikes against me in view of what you may be expecting from Are we postracial yet? Are we postnational? Not while we still fight tooth and nail over how Russian a composer Igor Stravinsky was.
Aeon for Friends
We often assume, or piously pretend, that categories are there to be transcended, and perhaps some ought to be. Race and nation, both bloodsoaked, might be nice candidates for elimination. Petersburg into the street. Diaghilev had invited Stravinsky over after hearing a performance of the Scherzo fantastique , op. He had kept Stravinsky waiting for twenty minutes.
Success begets envy, and envy seeks to belittle. Diaghilev was the greatest impresario of his time, perhaps the greatest the world has ever seen.
The Whole music of passion : new essays on Swinburne in SearchWorks catalog
Stravinsky was, in the eyes of many, the greatest composer of his time. Sheer luck, their detractors said: it was luck that brought Diaghilev and Stravinsky together, and without each other they would have been nothing. And it was not only their detractors who said this.
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Their friends agreed, if less ungraciously. Sworn Stravinskians saw this coming from afar. We knew that we would spend a year dancing with The Rite of Spring.
It was one of those inescapable tributes to round numbers on which the classical music business depends. Carolina Performing Arts stole a march on the actual centennial by starting its celebrations, where this essay had its beginnings, in the fall of , thus steering clear of the twin steamrollers, Wagner and Verdi, heading our way in In it was Liszt, while brought us Chopin and Schumann. There was Haydn in No composer of classical music was ever more attuned to the power of publicity, or courted it more ardently, than Igor Fyodorovich Stravinsky.
Petersburg newspapers in , and the stream, or torrent, continued unabated for nearly six decades, in dozens of languages and on every continent save Antarctica. By the end of his life, the composer quipped that he was Kivy earned master's degrees in both philosophy University of Michigan , and musicology Yale University , He earned his PhD at Columbia University in He joined the faculty at Rutgers the following year, and became full professor in He taught there for his whole career except one year as a visiting professor at University of California, Santa Barbara.
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His early work was on the 18th-century British aesthetics, and was influenced by Francis Hutcheson. From there he developed an interest in analytic aesthetics.