The Interpretation Of Music

By exploring the relationship between music and the moving image in film narrative, David Neumeyer shows that film music is not conceptually separate from sound or dialogue, but that all three are manipulated and continually interact in the larger acoustical world of the sound track. In a medium in which the image has traditionally trumped sound, Neumeyer turns our attention to the voice as the mechanism through which narrative (dialog, speech) and sound (sound effects, music) come together. Complemented by music examples, illustrations, and contributions by James Buhler, Meaning and Interpretation of Music in Cinema is the capstone of Neumeyer’s 25-year project in the analysis and interpretation of music in film.

Collection of nineteen essays which address a range of interrelated philosophical questions concerning musical works and their interpretation

"First published 1954; second, revised impression 1955 " Includes index Bibliography: p 181-185.

This is a comprehensive essay on musical meaning and performing music meaningfully - 'interpreting music' in both senses of the term. The author argues that music, far from being closed to interpretation is the paradigm of interpretation in general.

Performance studies in the Western art music tradition have often been dominated by the relationship of theoretical score-analysis to performance. This book presents a structured approach to analyzing the interpretation of a musical work from the perspective of a musically informed listener.

With Understanding Music and The Aesthetics of Music (1997) Roger Scruton set a new standard of rigour and seriousness in the philosophy of music. This collection of wide-ranging essays covers all aspects of the theory and practice of music, showing the significance of music as an expression of the moral life. The book is split into two parts, the first is devoted to the aesthetics and theory of music and the second consists of critical studies of individual composers, thinkers and works including essays on Mozart, Wagner, Beethoven's Ninth, Janácek & Schoenberg, Szymanowski and Adorno. Understanding Music will appeal to specialists in philosophy and musicology and also to music lovers who wish to find deeper meaning in this mysterious art. The Bloomsbury Revelations edition includes a new preface from the author.

This volume is concerned with the philosophical presuppositions of musical interpretation. The nineteen previously unpublished essays address such interrelated questions as the nature of musical interpretation in relation to works or music, whether works of music are fully embodied in scores, how strictly all markings of a score should be respected, what pertinence historical research has for musical interpretation, and how decisive the known or reconstructed intentions of a composer should be. The contributors investigate the aesthetic, cultural, and historical aspects of musical interpretation, and their relation to interpretation in other human practices. In addition, they investigate such fundamental distinctions as those between musical and non-musical phenomena, and between musical and linguistic meaning.