Music, Science, Philosophy: Models in the Universe of Thought

Description

Model theory is not the main theme of this work. The main theme is the interrelatedness of knowledge, of which models are prime instances, since in most, if not all, of their functions, establishing relations means cutting across lines that traditionally demarcate such separate domains as science and music. For example, science can find its models from the technology and semantic field of music, music can find its models from the technology and semantic fields of science, and each domain may be guided by a philosophical or metaphysical principle. Therefore we have the title of this book, "Music, Science, Philosophy". But the text itself is structured as a mirror image of its title. Part 1, "Philosophy" (chapters 1-3), and Part 2, "Science" (chapters 4-6), provide instances of music's contribution to epistemology, logic and the early modern sciences of developmental biology ("generation"), continuum mechanics, anatomy and physiological psychology, whereas Part 3, "Music" (chapters 7-10), provides instances of what some other domains have given back to the philosophy and theory of music.

Jamie C. Kassler, Australian Academy of Humanities, Australia

'...[the] writing is clear and no more technical than it need be... stimulating...' Early Music Review 'This volume is an invaluable resource for scholars who want to learn more about the role of musical models in philosophical and scientific thought from Pythagoras to Popper... like a collection of brilliant Chopin mazurkas, the chapters are best sampled one or two at a time, in different combinations.' British Journal for the History of Science '...of special interest is Kassler's reminder to readers that what is often taken to be the "scientific" aspect of music [...] has associations no less mythical than those of "Dionysian" passion and irrationality.' Annals of Science 'It is without qualification an excellent reference for academic libraries and general readers interested in the history of ideas. Kassler is competent in the areas of history, method and philosophy of science... This book is a welcome addition to a contemporary discussion of music, philosophy and science... It is composed of two basic elements of good academic worth; that is, methodical, well-structured information derived from primary and secondary texts and a guide for further research. It is impressive in its cross-disciplinary approach and the wealth of knowledge Kassler can call upon is truly extensive... This book comes highly recommended and would be a valuable addition to any academic library or to the collection of a general reader with an interest in physics and music.' Musicology Australia