Description
Book SynopsisTrade Review“In these pages Benjamin Steege recovers, at the very margins of the musical sciences, and against all the odds, a Heideggerian moment, the reverberations of which he traces from the 1920s until they all but fade from hearing three decades later. In the depth and breadth of its synthesis,
An Unnatural Attitude provides a model for what it means to write imaginatively about music and conceptual thought.” * Brian Hyer, University of Wisconsin–Madison *
“Between the hard-edged Platonism of musical form and the reduction of musical experience to mere psychological effect, an intricate and reflective style of musical thought emerged in Weimar Germany that was influenced by Edmund Husserl’s novel method of phenomenology. Steege’s deep dive into these forgotten figures—supported by forays into political history, textured close readings, and complete translations of primary texts—is a philosophical feast. It illuminates a complicated strain of European music theory embroiled in evolving debates about musical ontology, cultural difference, and social change.” * Michael Gallope, author of 'Deep Refrains: Music, Philosophy, and the Ineffable' *
"Enriched by convincing music-analytical examples, careful handling of philosophical terms of art, and an ethical sensitivity not unlike that of its historical interlocutors, Steege's book—and the writers whose work it examines—is sure to draw attention from music historians and historians of philosophy alike, who will question the relative unfamiliarity of its subject matter and set out to reach out across this gap to explore the models of historical listening it offers." * New Books Network *
"Steege's work is an important contribution to music aesthetics." * Choice *
"An Unnatural Attitude is a serious intellectual history that brings to light the musical thought of actors unfamiliar to the vast majority of music scholars. Ambitiously, Steege writes of both local and global concerns. At times, he suggests that the intentional manner with which one engages with music can shape the history of feeling; at others, he explicates music’s role in forging various types of community and in responding to human-led catastrophes. Densely written and always precise, An Unnatural Attitude is likely to establish itself as a central treatment of its topic: musicologists clearly need to think more deeply about the ideological, philosophical and political implications of that strange practice we call listening." * Twentieth-Century Music *
"Even if one might feel the tension differently oneself, there is no question that this text maintains and communicates it with tremendous skill and historical sensitivity, in both its main chapter sequence and the translated essays that make up a rich set of appendixes." * Notes *
Table of ContentsList of Examples
Introduction Worldhood and World War
Max Scheler, “Genius of War”
Musicology in the World
From Psychology to Phenomenology
Music in Phenomenological Study
Chapter 1 The Unnatural Attitude
The Acoustical Attitude and the Harmonic Attitude
Beyond Psychologism
“What Is the Phenomenology of Music?”
Chapter 2 Debussy, Outward and Open
An Outward Turn
Dehumanization
Being-There-With Music
Letting Oneself Go
Actuality
Chapter 3 Hearing-With
Case One Aesthetic Hearing (Seventeenth-Century Suite)
Joining In
Vocal Hearing and Instrumental Hearing
Case Two Participatory Hearing (Thirteenth-Century Motet)
Factical Life
Spacing
The Limits of Community
Chapter 4 Techniques of Feeling
This Is Not a Test
Techniques of Feeling
A Call
Appendix A Hans Mersmann, “On the Phenomenology of Music” (1925)
Appendix B Helmuth Plessner, “Response [to Mersmann]” (1925)
Appendix C Paul Bekker, “What Is the Phenomenology of Music?” (1925)
Appendix D Herbert Eimert, “On the Phenomenology of Music” (1926)
Appendix E Günther Stern-Anders, “On the Phenomenology of Listening (Elucidated through the Hearing of Impressionist Music)” (1927)
Acknowledgments
Notes
Bibliography
Index
