Adorno’s writings are often the starting point for the teaching of popular music studies, usually passing swiftly on, after concluding that ‘he didn’t listen to the right jazz’ or ‘he was a snob’. In this book, using Adorno’s aesthetic theory more generally, a viable philosophical approach to the study of idiomatic, non- standard music is constructed. The links between Adorno’s work and its Kantian roots are explored, and a more general and inclusive aesthetic constructed, using the utopian and implicitly political elements in each. This book will be of interest to critical theorists and musicologists wishing to build a more engaged practice without the pitfalls of a by now outdated ‘postmodern’ turn.

Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.

Introduction -- The arts and social change -- The power of utopian thinking -- Transforming society -- Music education and utopia -- Conclusion.

This edition includes: -Several illustrations from the original work -Extended and up to date introduction -A discussion of the structure of the book First published in 1516, Saint Thomas More's Utopia is one of the most important works of European humanism. Through the voice of the mysterious traveller Raphael Hythloday, More describes a pagan, communist city-state governed by reason. Addressing such issues as religious pluralism, women's rights, state-sponsored education, colonialism, and justified warfare, Utopia seems remarkably contemporary nearly five centuries after it was written, and it remains a foundational text in philosophy and political theory. Precminent More scholar Clarence H. Miller does justice to the full range of More's rhetoric in this new translation. Professor Miller includes a helpful introduction that outlines some of the important problems and issues that Utopia raises, and also provides informative commentary to assist the reader throughout this challenging and rewarding exploration of the meaning of political community.

When, if ever, is it permissible to afford special consideration to friends and family? How can we strive to be objective in our thinking, and is this always a feasible or appropriate aim? This book examines the categories of impartiality and objectivity by showing how they frame certain debates in epistemology, moral psychology, and metaethics, arguing that many traditional conceptions of objectivity fail to capture what is important to our identities as knowers, social beings, and moral agents. A new thesis of ‘perspectival realism’ is offered as a critique of strong objectivity, but in a way that avoids radical subjectivism or relativism. Locally-situated identities can provide their own criteria of epistemic and moral justification, and we may aspire to be impartial in a way that need not sacrifice particular perspectives and relationships. Arguments throughout the book draw heavily on resources from classical Chinese philosophy, and significant attention is given to applications of arguments to concrete issues in applied ethics, cross-cultural anthropology, and political science.

What is money and how does it acquire its value? How do we assign a measurable monetary value to human goods that do not seem quantifiable? What role does money play in the structure of society? Is money an illusion or is it real? Despite the enormous impact of money on the structure of human society, as well as its effect on our daily decision-making, surprisingly little philosophical work has been done on money to date. This book examines the metaphysical foundations of money as well as the power structures that characterize the world of finance, connecting the ontology of money to considerations about inequality and other real-life issues. By throwing light on the metaphysical structure of money and financial value, Eyja M. Brynjarsdóttir seeks to further the philosophical discussion of money and contribute to a broader critique of the monetary system.

Korstvedt explains key concepts from Bloch's musical philosophy, making his complex ideas accessible for modern musical scholars.

Sovereignty as Value is one of the first books to examine sovereignty using solely a normative approach. Through fourteen original essays, the book seeks to understand its viability in a globalized world, thus taking into account the inclusion of a language of rights, limitation and legitimacy. The authors’ focus is on whether sovereignty as a normative concept might be understood as a criterion of legitimate power and authority; as a foundational concept of public ethics applied to political and legal institutions. How should notions of legitimacy be linked with the notion of sovereignty? In what manner is sovereignty challenged by territoriality and territorial control? How does sovereignty relate to political legitimacy? Are all the forms of sovereign authority legitimate? Does the project of advancing human rights globally conflict with the logic of exclusion inherent in the classic notion of national sovereignty? These are some of the questions that will be assessed in this collective volume.

This study plac Utopia in the context of early sixteenth-century Europe and the intellectual preoccupations of More's own humanist circle, and clarifying those sources in classical and Christian political thought that provoked his writing.

Music Lessons marks the first publication in English of a groundbreaking group of writings by French composer Pierre Boulez, his yearly lectures prepared for the Collège de France between 1976 and 1995. The lectures presented here offer a sustained intellectual engagement with themes of creativity in music by a widely influential cultural figure, who has long been central to the conversation around contemporary music. In his essays Boulez explores, among other topics, the process through which a musical idea is realized in a full-fledged composition, the complementary roles of craft and inspiration, and the degree to which the memory of other musical works can influence and change the act of creation. Boulez also gives a penetrating account of problems in classical music that are still present today, such as the often crippling conservatism of established musical institutions. Woven into the discussion are stories of his own compositions and those of fellow composers whose work he championed, as both a critic and conductor: from Stravinsky to Stockhausen and Varèse, from Bartók to Berg, Debussy to Mahler and Wagner, and all the way back to Bach. Including a foreword by famed semiologist Jean-Jacques Nattiez, who was for years a close collaborator and friend of the composer, this edition is also enriched by an illuminating preface by Jonathan Goldman. With a masterful translation retaining Boulez’s fierce convictions, cutting opinions, and signature wit, Music Lessons will be an essential and entertaining volume.