Music and the Mind
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Оглавление
Anthony Storr. Music and the Mind
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Contents
Introduction
CHAPTER I ORIGINS AND COLLECTIVE FUNCTIONS
CHAPTER II MUSIC, BRAIN AND BODY
CHAPTER III BASIC PATTERNS
CHAPTER IV SONGS WITHOUT WORDS
CHAPTER V ESCAPE FROM REALITY?
CHAPTER VI THE SOLITARY LISTENER
CHAPTER VII THE INNERMOST NATURE OF THE WORLD
CHAPTER VIII A JUSTIFICATION OF EXISTENCE
CHAPTER IX THE SIGNIFICANCE OF MUSIC
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References. INTRODUCTION
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
Bibliography
Index
Acknowledgements
About the Author. MUSIC AND THE MIND
By the Same Author
About the Publisher
Отрывок из книги
ANTHONY STORR
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As Isaiah Berlin points out, all the metaphors listed above are taken from the human body. When human beings looked upon the external world and tried to describe it, it was natural that they did so in terms of their own subjective, physical experience. The language of science had not yet become dissociated from the language of poetry and music, and the notion that the phenomena of the external world could only be understood if anthropomorphism was excluded had not yet developed. The behaviourist idea that human beings can only properly be comprehended when their actions are observed with scientific objectivity rather than assessed by means of empathic understanding was far in the future. Vico would have agreed with John Blacking in supposing that a people’s music is one important key to understanding their culture and their relationships.
In ancient Greece, which is usually considered to be the birthplace of Western civilization, music was both ubiquitous and supremely important. Although we know little about how Greek music actually sounded, classical scholars refer to it as ‘an art which was woven into the very texture of their lives’.25
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