The Aesthetics of Music

Rating:
Summary: bit heavy-going but worth it
Review: 'The Aesthetics of Music' is a very in-depth examination of music and the points where it converges on society and politics. I'm a big fan of Roger and hope that these kinds of writings will help him win back some ground from the ill informed and idiotic books that fill the 'postmodern cultural theory' sections of bookshops and libraries. It is a much more specialised book than many of his recent writings on Foxhunting, English Culture and Global Politics but is similarly passionate and interesting throughout.

For anyone who wants a general understanding of the philosophy behind Scruton's aesthetic arguments his book 'An Intelligent Person's Guide to Modern Culture' contains a complete argument from which the argument of this book is drawn but is much shorter and more direct.

Rating:
Summary: One of the best books ever written on Music
Review: No one seriously interested in Music will regret reading this. Why does music move us? Scruton helps us to an even stronger appreciation and enjoyment of Music. (Also look out for his new book on Foxhunting.)

Rating:
Summary: Dated, illogical arguments
Review: Scruton comes off as something of a learned amateur; I have no idea if music is his "field," but if it is, he hasn't been exposed to an idea that emerged since the '50s. Virtually all of the ideas in this longish book have been stated before, by people with greater knowledge and experience than he and with more excuses for being wrong. I mean, Adorno could be forgiven his false conclusions (somewhat) because of when he lived and the environment in which he was raised. Scruton, living today, has none of these excuses for his dated arguments and almost primitive knowledge of music outside of Western Classical. The best aspects of this book are the first few chapters, which are basically a regurgitation of the usual music philosophy from a Western Art Music bent. You can get this information elsewhere, but Scruton does do a decent job of summarizing it in a readable, well-organized fashion. The book falls apart after that, though, and for a good laugh check out the chapter in which Scruton (weakly) takes swipes at jazz and rock, revealing his virtual ignorance of the nuances of either style.

Rating:
Summary: Dated, illogical arguments
Review: Scruton comes off as something of a learned amateur; I have no idea if music is his "field," but if it is, he hasn't been exposed to an idea that emerged since the '50s. Virtually all of the ideas in this longish book have been stated before, by people with greater knowledge and experience than he and with more excuses for being wrong. I mean, Adorno could be forgiven his false conclusions (somewhat) because of when he lived and the environment in which he was raised. Scruton, living today, has none of these excuses for his dated arguments and almost primitive knowledge of music outside of Western Classical. The best aspects of this book are the first few chapters, which are basically a regurgitation of the usual music philosophy from a Western Art Music bent. You can get this information elsewhere, but Scruton does do a decent job of summarizing it in a readable, well-organized fashion. The book falls apart after that, though, and for a good laugh check out the chapter in which Scruton (weakly) takes swipes at jazz and rock, revealing his virtual ignorance of the nuances of either style.

Rating:
Summary: Formidable, engrossing
Review: That some readers (and reviewers) will object to Scruton's cultural critique is to be expected; after all, he doesn't shrink from the cultural, political, idealogical and moral implications of his carefully-argued aesthetic. Though you don't have to agree, you'll find his arguments engrossing and his knowledge of music formidable. The journey through his encyclopedic knowledge alone is worth the read. The basic idea that music powerfully both reflects and influences the soul and thus society is certainly not new (it's part of ancient wisdom). Scruton's contribution is to look at the processes, reasons and effects in the light of modern philosophy. Mercifully, he writes in an accessible prose. Though not essential to following his argument, a basic knowledge of music theory and ability to parse musical notation will add considerably to the enjoyment of this important book.