LEADER 03295nam 2200733 a 450 001 9910810196503321 005 20200520144314.0 010 $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 $a19981103d1999 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 205 $a1st ed. 210 $aCambridge, UK ;$aNew York $cCambridge University Press$d1999 215 $a1 online resource (xii, 314 pages) $cdigital, PDF file(s) 225 1 $aNew perspectives in music history and criticism 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. 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-$0790550 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910810196503321 996 $aAbsolute music and the construction of meaning$91765553 997 $aUNINA