From Library Journal
Addis (philosophy, Univ. of Iowa) seeks to present a cogent argument for the affinity between sounds and conscious states and thus to demonstrate the "affinity of mind and music." Relying on the work of Susanne K. Langer and Sigmund Freud, he presents arguments that are well clarified if not wholly compelling. Addis writes as one who is himself engaged in the composition and performance of music (as an orchestral double bassist), and his telling points are those concerning the arguable status of any causal relationship between music and emotion. Much less successful is his argument that consciousness and sound do not require change, but only time, in order to be realized. The bibliographic essay appearing as the book's appendix will prove interesting to students of aesthetics. Appropriate for subject specialists but marginal for general collections.AFrancisca Goldsmith, Berkeley P.L., CA
Copyright 1999 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
"A trenchant, ambitious book which offers a striking new account of the relationship between music and mental states. Well-written and concise, light-hearted and engagingly immodest, Addis's book represents a genuinely original contribution to one of the most widely discussed issues in the philosophy of music."—Aaron Ridley, Mind (April 2001)
"The union of the mind and music is the focus, and Addis explains why it is necessary to understand both in order to answer the old question: What makes people feel such a deep range of emotions as the result of hearing music?"—Chamber Music, October 1999
"Addis's proposal is an intriguing and refreshingly novel one. It is not for nothing that Peter Kivy has described it as 'the first philosophy book in several decades with something truly original to say about music and emotion.'"—A. E. Denham, Music and Letters, 81:2, 2000
"Of Mind and Music has real value for musicians. The challenges to familiar clichés make it important reading for anyone concerned with these issues. . . . It stresses the uniqueness of the emotional experience of great music; that it has represented unique forms of consciousness and will still do so. Indeed, it takes us out of familiar habits of mind in respect of the emotional associations of traditional music to suggest both how music could have been experienced in ancient societies and how it might be experienced in the future. A stimulating approach, and an often quietly humorous one too: that the prospect of writing 'sad' music might make a composer happy—if there were a commission in prospect."—Michael Musgrave, University of London, British Journal of Aesthetics, January 2001
"Addis writes as one who is himself engaged in the composition and performance of music (as an orchestral double bassist), and his telling points are those concerning the arguable status of any causal relationship between music and emotion."—Library Journal, July 1999