LEADER 03333nam 22007212 450 001 9910780075803321 005 20151005020622.0 010 $a0-511-08901-5 010 $a1-107-11569-8 010 $a0-511-01918-1 010 $a1-280-42029-4 010 $a0-511-17575-2 010 $a0-511-15634-0 010 $a0-511-32540-1 010 $a0-511-48169-1 010 $a0-511-05106-9 024 7 $a2027/heb07567 035 $a(CKB)111056485648296 035 $a(EBL)202168 035 $a(OCoLC)51296820 035 $a(SSID)ssj0000096264 035 $a(PQKBManifestationID)11119502 035 $a(PQKBTitleCode)TC0000096264 035 $a(PQKBWorkID)10075377 035 $a(PQKB)10146951 035 $a(UkCbUP)CR9780511481697 035 $a(Au-PeEL)EBL202168 035 $a(CaPaEBR)ebr10005710 035 $a(CaONFJC)MIL42029 035 $a(MiAaPQ)EBC202168 035 $a(dli)HEB07567 035 $a(MiU)MIU01000000000000007427355 035 $a(EXLCZ)99111056485648296 100 $a20090216d1999|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAbsolute music and the construction of meaning /$fDaniel K.L. Chua$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d1999. 215 $a1 online resource (xii, 314 pages) $cdigital, PDF file(s) 225 1 $aNew perspectives in music history and criticism ;$v4 300 $aTitle from publisher's bibliographic system (viewed on 05 Oct 2015). 311 $a0-521-02751-9 311 $a0-521-63181-5 320 $aIncludes bibliographical references and index. 327 $aCover; Half-title; Series-title; Title; Copyright; CONTENTS; ILLUSTRATIONS; ACKNOWLEDGEMENTS; ON THE PREFACE; PART 1 The Garden of Eden; PART 2 The Fruit of Knowledge; PART 3 The Tower of Babel; BIBLIOGRAPHY; INDEX 330 $aThis book is born out of two contradictions: first, it explores the making of meaning in a musical form that was made to lose its meaning at the turn of the nineteenth century; secondly, it is a history of a music that claims to have no history - absolute music. The book therefore writes against that notion of absolute music which tends to be the paradigm for most musicological and analytical studies. It is concerned not so much with what music is, but with why and how meaning is constructed in instrumental music and what structures of knowledge need to be in place for such meaning to exist. From the thought of Vincenzo Galilei to that of Theodore Adorno, Daniel Chua suggests that instrumental music has always been a critical and negative force in modernity, even with its nineteenth-century apotheosis as 'absolute music'. 410 0$aNew perspectives in music history and criticism ;$v4. 517 3 $aAbsolute Music & the Construction of Meaning 606 $aAbsolute music 606 $aMusic$xPhilosophy and aesthetics 615 0$aAbsolute music. 615 0$aMusic$xPhilosophy and aesthetics. 676 $a781.1/7 700 $aChua$b Daniel K. L.$f1966-$0790550 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910780075803321 996 $aAbsolute music and the construction of meaning$91765553 997 $aUNINA