David Mosley | Bellarmine University (original) (raw)
David L. Mosley is a member of the Philosophy Faculty at Bellarmine University (USA) where he teaches courses in Modern Philosophy, Contemporary Philosophy, Philosophy of Art, and Philosophy of History. Recent seminars have examined the works of Friedrich Nietzsche, fin de siècle Prague and Vienna, and Bob Dylan’s America. His publications include Gesture, Sign, and Song: An Interdisciplinary Approach to Schumann’s Eichendorff Lieder, Op.39 and articles in The Journal of Aesthetics and Art Criticism, Contemporary Music Review, Analecta Husserliana, Word and Music Studies, and Interdisciplinary Studies in Musicology. He is currently at work on a book-length manuscript examining the role Stimmung in the philosophy of Friedrich Nietzsche.
less
Uploads
Papers by David Mosley
Philosophy of Education Archive, 2016
Without doubt, the blues is one of the most repetitive of musical forms and among the earliest mu... more Without doubt, the blues is one of the most repetitive of musical forms and among the earliest musical forms subject to mechanical reproduction. Similarly, speaking of the blues is an exercise in repetition, a repetition of the repetition essential to the blues, but in a different register. To speak of the blues in the terms provided by Gilles Deleuze, as I plan to do in what follows, is to repeat the play of identity and difference, of equality and inequality, freedom and enslavement, departure and return. The following asks if the repetition of difference in the blues might serve as both a hermeneutic model for teaching and as a heuristic measure to determine the extent to which the classroom might become a rowdy and disorderly Juke Joint of Ideas.2 Listening to the BLues Typically speaking, the blues is tripartite and follows an AAB pattern, as in figure 1. The most ubiquitous blues is twelve measures long and divided into three groups of four measures each (1–4 / 5–8 / 9–12). Th...
Word and Music Studies: Essays on Performativity and on Surveying the Field, 2011
It is the thesis of this article Nietzsche's Thus spoke Zarathustra initiates a discursive practi... more It is the thesis of this article Nietzsche's Thus spoke Zarathustra initiates a discursive practice, pace Foucault, in the context of which the aesthetic expressions offin de si~cle Vienna assume their full significance. This discursive practice is based upon a two-part process in which the expectations an audience may have for a work are heightened by the intentional conflation of multiple frames of reference and then ironically undercut when the specific historical and cultural contexts for the work are acknowledged. In order to encapsulate and synosize the two steps of the Nietzschean narrative strategy, Bakhtin's notions of double-voiced discourse and accentuation are employed. The effects of this strategy are traced in works
As a former member of the Netherlands Opera, the Hamburg State Opera, and the Nuremberg Opera who... more As a former member of the Netherlands Opera, the Hamburg State Opera, and the Nuremberg Opera who has published in this journal and the collection Henry James on Stage and Screen, Michael Halliwell is especially well suited to discuss the surprising interest shown by composers of opera in James's works over the past sixty years. The first part of this interdisciplinary study provides a nuanced treatment of opera as a genre. The bulk is given over to a workman-like synopsis and often insightful analysis of eight James operas by seven composers.
Allegory Old and New, 1994
... In a response to Natalie Bauer-Lechner's inquiry as to how he set a text to music Ma... more ... In a response to Natalie Bauer-Lechner's inquiry as to how he set a text to music Mahler replied:" One minute it is ... abhanden gekommen is combined with musical material from the second song of Mahler's Kindertotenlieder, Nun seh'ich wohl, warum so dunkle Flammen, another ...
Essays in the Semiotic Theory and Analysis of Music, 1995
... Rossana 1987" The concept of expansion in theories concerning the relationships betw... more ... Rossana 1987" The concept of expansion in theories concerning the relationships between music and poetry", Semiotica 66 (1-3): 111-128. Jakobson, Roman 1971" On linguistic aspects of translation", in: Selected writings II, 260-266. Paris: Mouton. Kramer, Lawrence 1984 ...
Philosophy of Education Archive, 2016
Without doubt, the blues is one of the most repetitive of musical forms and among the earliest mu... more Without doubt, the blues is one of the most repetitive of musical forms and among the earliest musical forms subject to mechanical reproduction. Similarly, speaking of the blues is an exercise in repetition, a repetition of the repetition essential to the blues, but in a different register. To speak of the blues in the terms provided by Gilles Deleuze, as I plan to do in what follows, is to repeat the play of identity and difference, of equality and inequality, freedom and enslavement, departure and return. The following asks if the repetition of difference in the blues might serve as both a hermeneutic model for teaching and as a heuristic measure to determine the extent to which the classroom might become a rowdy and disorderly Juke Joint of Ideas.2 Listening to the BLues Typically speaking, the blues is tripartite and follows an AAB pattern, as in figure 1. The most ubiquitous blues is twelve measures long and divided into three groups of four measures each (1–4 / 5–8 / 9–12). Th...
Word and Music Studies: Essays on Performativity and on Surveying the Field, 2011
It is the thesis of this article Nietzsche's Thus spoke Zarathustra initiates a discursive practi... more It is the thesis of this article Nietzsche's Thus spoke Zarathustra initiates a discursive practice, pace Foucault, in the context of which the aesthetic expressions offin de si~cle Vienna assume their full significance. This discursive practice is based upon a two-part process in which the expectations an audience may have for a work are heightened by the intentional conflation of multiple frames of reference and then ironically undercut when the specific historical and cultural contexts for the work are acknowledged. In order to encapsulate and synosize the two steps of the Nietzschean narrative strategy, Bakhtin's notions of double-voiced discourse and accentuation are employed. The effects of this strategy are traced in works
As a former member of the Netherlands Opera, the Hamburg State Opera, and the Nuremberg Opera who... more As a former member of the Netherlands Opera, the Hamburg State Opera, and the Nuremberg Opera who has published in this journal and the collection Henry James on Stage and Screen, Michael Halliwell is especially well suited to discuss the surprising interest shown by composers of opera in James's works over the past sixty years. The first part of this interdisciplinary study provides a nuanced treatment of opera as a genre. The bulk is given over to a workman-like synopsis and often insightful analysis of eight James operas by seven composers.
Allegory Old and New, 1994
... In a response to Natalie Bauer-Lechner's inquiry as to how he set a text to music Ma... more ... In a response to Natalie Bauer-Lechner's inquiry as to how he set a text to music Mahler replied:" One minute it is ... abhanden gekommen is combined with musical material from the second song of Mahler's Kindertotenlieder, Nun seh'ich wohl, warum so dunkle Flammen, another ...
Essays in the Semiotic Theory and Analysis of Music, 1995
... Rossana 1987" The concept of expansion in theories concerning the relationships betw... more ... Rossana 1987" The concept of expansion in theories concerning the relationships between music and poetry", Semiotica 66 (1-3): 111-128. Jakobson, Roman 1971" On linguistic aspects of translation", in: Selected writings II, 260-266. Paris: Mouton. Kramer, Lawrence 1984 ...