The departure point of the present work is the idea
that in order to understand what music meant to British
society in the Eighteenth-Century an interdisciplinary
approach is necessary. Natural philosophy, moral
philosophy, musical treatises and histories of music: all these
sources concur both to the creation of a new idea about
what music and its ‘science’ are, and to question the place
which music ought to have in the realm of the Science of
Man.
The dissertation is divided into two sections. In the
first one we will take into account philosophical sources
(from John Locke, Joseph Addison and Lord Shaftesbury, to
Lord Kames and Adam Smith), and we will examine their
thoughts on music. In the second one we will deal with
musical sources (from the Treatise of Musick of Alexander
Malcom, to the Histories of Music of Charles Burney and John
Hawkins) in order to show their connection with the
philosophical literature before mentioned.
The main aim of the work it to show that the
development of specific philosophies of the human mind,
such as the ones of John Locke and David Hume, did
influence the way in which music was thought. Particularly
we will point out the case of Adam Smith’s interpretation of
instrumental music, which is heavily indebted to the
humeian model of the human mind.
| Identifer | oai:union.ndltd.org:unibo.it/oai:amsdottorato.cib.unibo.it:1335 |
| Date | 28 May 2009 |
| Creators | Semi, Maria <1981> |
| Contributors | Gozza, Paolo, Serravezza, Antonio |
| Publisher | Alma Mater Studiorum - Università di Bologna |
| Source Sets | Università di Bologna |
| Language | Italian |
| Detected Language | English |
| Type | Doctoral Thesis, PeerReviewed |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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