Titlebook: Gadamer, Music, and Philosophical Hermeneutics; Sam McAuliffe Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive l

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Diagnostic Tools for Food Safety, which human-music relationships are configured. John Cage’s plant piece . is deployed, perhaps counterintuitively, as an example of the ideal hermeneutic attitude underwriting tarrying, although it is suggested that the applicability of Gadamer’s constitution of tarrying extends beyond the musical-theatrical avant-garde.

Statins

The Dance That Transforms: Gadamer on Morality, Music, and Religioning in community. I conclude the paper by considering Gadamer’s notion of festival. Although Gadamer makes no reference in his discussion of festival to ancient forms of religion, such religious practice can be seen as something very similar (if not identical) to the celebration of a festival.

cauda-equina

Tarrying with John Cage’s Plant Pieces which human-music relationships are configured. John Cage’s plant piece . is deployed, perhaps counterintuitively, as an example of the ideal hermeneutic attitude underwriting tarrying, although it is suggested that the applicability of Gadamer’s constitution of tarrying extends beyond the musical-theatrical avant-garde.

COMA

Book 2024 educators, and musicologists from a variety of backgrounds, and sheds light on both the hermeneutic nature of music and the musicality of hermeneutics. Contributors to this volume hermeneutically .think. with music to uncover its fundamentally hermeneutic character, and by thinking with Gadamer in

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Incorruptible

disciplined

crescendo

Serious Play: Towards a Philosophical Understanding of Interpretative Musical Performanceturn. In this discussion I propose to use key concepts of Gadamer’s hermeneutics to develop a further detailed conception of interpretative performance and its relationship to work. Gadamer’s idea that play is ontologically fundamental to art and music, manifests itself in a working structure (., un

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The Participant Belongs to the Play: The Ethical Dimensions of Improvised Musicate to others, and offers paths to how we might live out what Heidegger called an ‘original’ ethics, sharing in the world’s unfolding by actively letting others be. Such a re-understanding can, I conclude, help us clarify our enmeshment with the other-than-human, as well as the value of artistic pra

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