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Roger Scruton explores the fundamental elements that constitute a great piece of music, now in paperback for the first time.

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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 editions includes a new preface from author.

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Preface

Part I1 Introduction
2 Sounds
3 Wittgenstein on music
4 Movement
5 Expression
6 Rhythm

Part II

7 My Mozart
8 Beethoven´s Ninth Symphony
9 The trial of Richard Wagner
10 A first shot at The Ring
11 True Authority: Janacek, Schoenberg and us
12 Thoughts on Szymanowski
13 Why read Adorno?

Bibliography

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The prolific philosopher turns his attention back to music, exploring the fundamental elements that make a great piece. Ranging from Wagner to Hoagy Carmichael and even a final chapter on ´the disaster of pop´, this is trademark, provocotive Scruton. The Bookseller

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Scruton, Roger
Sir Roger Scruton is a graduate of Jesus College, Cambridge. He has been Professor of Aesthetics at Birkbeck College, London, and University Professor at Boston University. He is currently visiting professor of philosophy at the University of Oxford and Senior Fellow at the Ethics and Public Policy Center, Washington DC. He has published a large number of books, including some works of fiction, and has written and composed two operas. He writes regularly for the Times, the Daily Telegraph, the Spectator and was for many years wine critic of the New Statesman.

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