Expression and truth are traditional opposites in Western thought:
expression supposedly refers to states of mind, truth to states of
affairs. "Expression and Truth" rejects this opposition and
proposes fluid new models of expression, truth, and knowledge with
broad application to the humanities. These models derive from five
theses that connect expression to description, cognition, the
presence and absence of speech, and the conjunction of address and
reply. The theses are linked by a concentration on musical
expression, regarded as the ideal case of expression in general,
and by fresh readings of Ludwig WittgensteinOCOs scattered but
important remarks about music. The result is a new conception of
expression as a primary means of knowing, acting on, and forming
the world.Recent years have seen the return of the claim that
musicOCOs power resides in its ineffability. In "Expression and
Truth," Lawrence Kramer presents his most elaborate response to
this claim. Drawing on philosophers such as Wittgenstein and on
close analyses of nineteenth-century compositions, Kramer
demonstrates how music operates as a medium for articulating
cultural meanings and that music matters too profoundly to be
cordoned off from the kinds of critical readings typically brought
to the other arts. A tour-de-force by one of musicologyOCOs most
influential thinkers.OCoSusan McClary, "Desire and Pleasure in
University of California Press
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