LEADER 03512nam 2200601Ia 450 001 9910778531503321 005 20200520144314.0 010 $a0-674-02928-3 024 7 $a10.4159/9780674029286 035 $a(CKB)1000000000815999 035 $a(SSID)ssj0000341483 035 $a(PQKBManifestationID)11267241 035 $a(PQKBTitleCode)TC0000341483 035 $a(PQKBWorkID)10389136 035 $a(PQKB)10616679 035 $a(Au-PeEL)EBL3300125 035 $a(CaPaEBR)ebr10313841 035 $a(OCoLC)923109388 035 $a(DE-B1597)574744 035 $a(DE-B1597)9780674029286 035 $a(MiAaPQ)EBC3300125 035 $a(OCoLC)1248759610 035 $a(EXLCZ)991000000000815999 100 $a19931216d1994 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 12$aA pitch of philosophy$b[electronic resource] $eautobiographical exercises /$fStanley Cavell 210 $aCambridge, MA $cHarvard University Press$d1994 215 $axv, 196 p 225 1 $aThe Jerusalem-Harvard lectures 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-674-66980-0 311 $a0-674-66981-9 320 $aIncludes bibliographical references (p. [171]-178) and indexes. 327 $tFrontmatter -- $tContents -- $tOverture -- $t1. Philosophy and the Arrogation of Voice -- $t2. Counter-Philosophy and the Pawn of Voice -- $t3. Opera and the Lease of Voice -- $tBibliography -- $tAcknowledgments -- $tSubject Index -- $tName Index 330 $aA distinguished historian chronicles the rise of music and musicians in the West from lowly balladeers to masters employed by fickle patrons, to the great composers of genius, to today?s rock stars. How, he asks, did music progress from subordinate status to its present position of supremacy among the creative arts? Mozart was literally booted out of the service of the Archbishop of Salzburg ?with a kick to my arse,? as he expressed it. Yet, less than a hundred years later, Europe?s most powerful ruler?Emperor William I of Germany?paid homage to Wagner by traveling to Bayreuth to attend the debut of The Ring. Today Bono, who was touted as the next president of the World Bank in 2006, travels the world, advising politicians?and they seem to listen. The path to fame and independence began when new instruments allowed musicians to showcase their creativity, and music publishing allowed masterworks to be performed widely in concert halls erected to accommodate growing public interest. No longer merely an instrument to celebrate the greater glory of a reigning sovereign or Supreme Being, music was, by the nineteenth century, to be worshipped in its own right. In the twentieth century, new technological, social, and spatial forces combined to make music ever more popular and ubiquitous. In a concluding chapter, Tim Blanning considers music in conjunction with nationalism, race, and sex. Although not always in step, music, society, and politics, he shows, march in the same direction. 410 0$aJerusalem-Harvard lectures. 606 $aPhilosophy 606 $aPhilosophy, American 615 0$aPhilosophy. 615 0$aPhilosophy, American. 676 $a191 700 $aCavell$b Stanley$f1926-$0163547 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910778531503321 996 $aA pitch of philosophy$93867754 997 $aUNINA