Traditionally, the aesthetics of music or musical aesthetics explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the eighteenth century, focus shifted to the experience of hearing music, and thus to questions about its beauty and human enjoyment (plaisir and jouissance) of music. The origin of this philosophic shift is sometimes attributed to Baumgarten in the 18th century, followed by Kant. Through their writing, the ancient term 'aesthetics', meaning sensory perception, received its present day connotation. In recent decades philosophers have tended to emphasize issues besides beauty and enjoyment. For example, music's capacity to express emotion has been a central issue.

Aesthetics is a sub-discipline of philosophy. In the 20th century, important contributions were made by Peter Kivy, Jerrold Levinson, Roger Scruton, and Stephen Davies. However, many musicians, music critics, and other non-philosophers have contributed to the aesthetics of music. In the 19th century, a significant debate arose between Eduard Hanslick, a music critic and musicologist, and composer Richard Wagner. Harry Partch and some other musicologists, such as Kyle Gann, have studied and tried to popularize microtonal music and the usage of alternate musical scales. Also many modern composers like Lamonte Young, Rhys Chatham and Glenn Branca paid much attention to a scale called just intonation.

It is often thought that music has the ability to affect our emotions, intellect, and psychology; it can assuage our loneliness or incite our passions. The philosopher Plato suggests in the Republic that music has a direct effect on the soul. Therefore, he proposes that in the ideal regime music would be closely regulated by the state. (Book VII)

There has been a strong tendency in the aesthetics of music to emphasize the paramount importance of compositional structure; however, other issues concerning the aesthetics of music include lyricism, harmony, hypnotism, emotiveness, temporal dynamics, resonance, playfulness, and color (see also musical development).

History: Aesthetics and European classical music[link]

18th century[link]

In the 18th century, music was considered to be so far outside the realm of aesthetic theory (then conceived of in visual terms) that music was barely mentioned in William Hogarth's treatise, The Analysis of Beauty. He considered dance beautiful (closing the treatise with a discussion of the minuet), but treated music important only insofar as it could provide the proper accompaniment for the dancers. However, by the end of the century, the topic of music and its own beauty came to be distinguished from cases in which music is part of a mixed media, as it is in opera and dance. Immanuel Kant, whose Critique of Judgment is generally considered the most important and influential work on aesthetics in the 18th century, argued that instrumental music is beautiful but ultimately trivial - compared to the other fine arts, it does not engage the understanding sufficiently, and it lacks moral purpose. In order to display the combination of genius and taste that combines ideas and beauty, respectively, music must be combined with words, as in song and opera.

19th century[link]

In the 19th century, the era of romanticism in music, some composers and critics argued that music should and could express ideas, images, emotions, or even a whole literary plot. Challenging Kant's reservations about instrumental music, in 1813 E. T. A. Hoffman argued that music was fundamentally the art of instrumental composition. Five years later, Arthur Schopenhauer's The World as Will and Representation argued that instrumental music is the greatest art, because it is uniquely capable of representing the metaphysical organization of reality. Although the Romantic movement accepted the thesis that instrumental music has representational capacities, most did not support Schopenhauer's linking of music and metaphysics. The mainstream consensus endorsed music's capacity to represent particular emotions and situations. In 1832, composer Robert Schumann stated that his piano work Papillons was "intended as a musical representation" of the final scene of a novel by Jean Paul, Flegeljahre. The thesis that the value of music is related to its representational function was vigorously countered by the formalism of Eduard Hanslick, setting off the "War of the Romantics." This fight divided the aesthetics into two competing groups: On one side are formalists (e.g., Hanslick), who emphasize that the rewards of music are found in appreciation of musical form or design, while on the other side are the anti-formalists, such as Richard Wagner, who regarded musical form as a means to other artistic ends.

20th century[link]

A group of modernist writers in the early 20th century (including the poet Ezra Pound) believed that music was essentially pure because it didn't represent anything, or make reference to anything beyond itself. In a sense, they wanted to bring poetry closer to Hanslick's ideas about the autonomous, self-sufficient character of music. (Bucknell 2002) Dissenters from this view notably included Albert Schweitzer, who argued against the alleged 'purity' of music in a classic work on Bach. Far from being a new debate, this disagreement between modernists and their critics was a direct continuation of the 19th-century debate about the autonomy of music.

Among 20th century composers, Igor Stravinsky is the most prominent composer to defend the modernist idea of musical autonomy. When a composer creates music, Stravinsky claims, the only relevant thing "is his apprehension of the contour of the form, for the form is everything. He can say nothing whatever about meanings." (Stravinsky 1962, p. 115) Although listeners often look for meanings in music, Stravinsky warned that these are distractions from the musical experience.

The most distinctive development in the aesthetics of music in the 20th century was that attention was directed at the distinction between 'higher' and 'lower' music, now understood to align with the distinction between art music and popular music, respectively. Theodor Adorno suggested that culture industries churn out a debased mass of unsophisticated, sentimental products which have replaced the more 'difficult' and critical art forms which might lead people to actually question social life. False needs are cultivated in people by the culture industries. These are needs which can be both created and satisfied by the capitalist system, and which replace people's 'true' needs - freedom, full expression of human potential and creativity, genuine creative happiness. Thus, those who are trapped in the false notions of beauty according to a capitalist mode of thinking, are only capable of hearing beauty in dishonest terms.

Beginning with Peter Kivy's work in the 1970s, analytic philosophy has contributed extensively to the aesthetics of music. Analytic philosophy pays very little attention to the topic of musical beauty. Instead, Kivy inspired extensive debate about the nature of emotional expressiveness in music. He also contributed to the debate over the nature of authentic performances of older music arguing that much of the debate was incoherent because it failed to distinguish among four distinct standards of authentic performance of music (1995).

Popular music[link]

Bad music[link]

The neutrality of this section is disputed. Please see the discussion on the talk page. Please do not remove this message until the dispute is resolved. (August 2010)

Simon Frith (2004, p. 17-9) argues that, "'bad music' is a necessary concept for musical pleasure, for musical aesthetics." He distinguishes two common kinds of bad music: the Worst Records Ever Made type, which include "Tracks which are clearly incompetent musically; made by singers who can't sing, players who can't play, producers who can't produce," and "Tracks involving genre confusion. The most common examples are actors or TV stars recording in the latest style." Another type of "bad music" is "rock critical lists," such as *"Tracks that feature sound gimmicks that have outlived their charm or novelty" and "Tracks that depend on false sentiment (...), that feature an excess of feeling molded into a radio-friendly pop song."

Frith gives three common qualities attributed to bad music: inauthentic, [in] bad taste (see also: kitsch), and stupid. He argues that "The marking off of some tracks and genres and artists as 'bad' is a necessary part of popular music pleasure; it is a way we establish our place in various music worlds. And 'bad' is a key word here because it suggests that aesthetic and ethical judgements are tied together here: not to like a record is not just a matter of taste; it is also a matter of argument, and argument that matters." (p. 28)

Frith's analysis of popular music is based in sociology.

Philosophical aesthetics of popular music[link]

The neutrality of this section is disputed. Please see the discussion on the talk page. Please do not remove this message until the dispute is resolved. (May 2009)

Theodor Adorno was a prominent philosopher who wrote on the aesthetics of popular music. A Marxist, Adorno was extremely hostile to popular music. His theory was largely formulated in response to the growing popularity of American music in Europe between World War I and World War II. As a result, Adorno often uses "jazz" as his example of what he believed was wrong with popular music; however, for Adorno this term included everyone from Louis Armstrong to Bing Crosby. He attacked popular music claiming that it is simplistic and repetitive, and encourages a fascist mindset (1973, p. 126). However good or bad it sounds to its audience, he believed that music is genuinely good only if it challenges society through its role as an inaccessible Other. This function is advanced by musical structure, rather than lyrics. In his opinion, although many popular musicians seem to superficially oppose the political status quo, the use of familiar song forms and the artist's involvement in capitalism results in music that ultimately encourages the audience accept things as they are - only radically experimental music can encourage audiences to become critical of prevailing society. However, the mass media cannot handle the confrontational nature of good music, and offers instead a steady diet of recycled, simplified and politically ineffective music.

Besides Adorno, Theodore Gracyk provides the most extensive philosophical analysis of popular music. He argues that conceptual categories and distinctions developed in response to art music are systematically misleading when applied to popular music (1996).

In 2007 musicologist and journalist Craig Schuftan published his book The Culture Club, in which he draws links between modernism art movements and popular music of today and that of past decades and even centuries. His story involves drawing lines between art, or high culture, and pop, or low culture.^[1]

In Germany, the musicologist Ralf von Appen (2007) has published a book on the aesthetics of popular music that focuses on everyday judgments of popular records. He analyzes the structures and aesthetic categories behind judgments found on amazon.com concerning records by musicians such as Bob Dylan, Eminem, Queens of the Stone Age etc. In a second step, von Appen interprets these findings on the basis of current theoretical positions in the field of philosophical aesthetics.

See also[link]

• List of aesthetic principles of music
• Music theory
• Reception of country music

Footnotes[link]

References[link]

• Adorno, Theodor W. Essays on Music. Richard Leppert (ed.) Berkeley: University of California Press, 2002.
• Adorno, Theodor W. Philosophy of Modern Music. Anne G. Mitchell and Wesley V. Blomster (trans.) New York: Seabury Press, 1973.
• Appen, Ralf von (2007). "On the aesthetics of popular music." Music Therapy Today Vol. VIII (1), 5-25. Online: Music Therapy Today
• Appen, Ralf von (2007). Der Wert der Musik. Zur Ästhetik des Populären. Bielefeld: Transcript. ISBN 3-89942-734-3
• Bucknell, Brad (2002). Literary Modernism and Musical Aesthetics. Cambridge, UK, Cambridge University Press. ISBN 0-521-66028-9.
• Davies, Stephen. Musical Meaning and Expression. Ithaca & London: Cornell University Press, 1994.
• Davies, Stephen. Musical Works and Performances: A Philosophical Exploration. Oxford: Clarendon Press, 2001.
• Frith, Simon. "What is Bad Music" in Washburne, Christopher J. and Derno, Maiken (eds.) (2004). Bad Music: The Music We Love to Hate. New York: Routledge. ISBN 0-415-94366-3.
• Gracyk, Theodore. Rhythm and Noise: An Aesthetics of Rock. Durham, NC: Duke University Press, 1996.
• Kant, Immanuel. Kritik der Urteilskraft, Kants gesammelte Schriften, Volume 5, Berlin: Walter de Gruyter, 1902–. Translated as Critique of the Power of Judgment. Paul Guyer (ed.), Paul Guyer and Eric Matthews (trans.), Cambridge: Cambridge University Press, 2000.
• Kivy, Peter. Authenticities: Philosophical Reflections on Musical Performance. Ithaca: Cornell University Press, 1995. ISBN 0-8014-3046-1.
• Kivy, Peter. Sound Sentiment: An Essay on the Musical Emotions Including the Complete Text of the Corded Shell. Philadelphia: Temple University Press, 1989.
• Levinson, Jerrold. Music, Art, and Metaphysics. Ithaca: Cornell UP, 1990; 2nd edition, Oxford: Oxford UP, 2011.
• Plato, The Republic. Translated by Benjamin Jowett. Oxford University Press: 1894. [1]
• Scruton, Roger. The Aesthetics of Music. Oxford University Press, 1997.
• Schopenhauer, Arthur. The World as Will and Representation. Dover. Volume I, ISBN 0-486-21761-2. Volume II, ISBN 0-486-21762-0
• Sorce Keller, Marcello. ”Originality, Authenticity and Copyright”, Sonus, VII(2007), no. 2, pp. 77–85.
• Sorce Keller, Marcello. “Why is Music so Ideological, Why Do Totalitarian States Take It So Seriously: A Personal View from History, and the Social Sciences”, Journal of Musicological Research, XXVI(2007), no. 2-3, pp. 91–122
• Stravinsky, Igor, with Robert Craft, Expositions and Developments. New York: Doubleday, 1962.

Further reading[link]

• Alperson, Philip (ed.), What is Music?. New York, NY: Haven, 1987.
• Bertinetto, Alessandro. "Il pensiero dei suoni. Temi di filosofia della musica". MIlano: Bruno Mondadori, 2012.
• Bowman, Wayne D. Philosophical Perspectives on Music. New York and Oxford: Oxford University Press, 1998.
• Budd, Malcolm. Music and the Emotions: The Philosophical Theories. London: Routledge & Kegan Paul. 1985.
• Davies, Stephen. Musical Meaning and Expression, Ithaca, NY: Cornell University Press, 1994.
• Davies, Stephen. Musical Works and Performances: A Philosophical Exploration. Oxford: Oxford University Press, 2001.
• Goehr, Lydia. 'The Imaginary Museum of Musical Works. An Essay in the Philosophy of Music' Oxford, 1992/2007.
• Gracyk, Theodore. "Adorno, Jazz, and the Aesthetics of Popular Music," The Musical Quarterly 76 no. 4 (Winter 1992): 526-42.
• Gracyk, Theodore. Listening to Popular Music: Or How I Learned to Stop Worrying and Love Led Zeppelin. Ann Arbor: University of Michigan Press, 2007.
• Hanslick, Eduard (1885/1957). Vom Musikalisch-Schönen. Tr. The Beautiful In Music. Bobbs-Merrill Co (June 1957). ISBN 0-672-60211-3.
• Higgins, Kathleen M. The Music of Our Lives. Philadelphia, PA: Temple University Press, 1991.
• Kertz-Welzel, Alexandra. "The Magic of Music: Archaic Dreams in Romantic Aesthetics and an Education in Aesthetics." Philosophy of Music Education Review 13 no. 1 (Spring 2005): 77-94.
• Kertz-Welzel, Alexandra. "In Search of the Sense and the Senses: Aesthetic Education in Germany and the United States." Journal of Aesthetic Education 39 no. 3 (Fall 2005): 104-116.
• Kivy, Peter. New Essays on Musical Understanding. Oxford: Oxford University Press, 2001. ISBN 978-0-19-825083-8.
• Lippman, Edward. A History of Western Musical Aesthetics. University of Nebraska Press, 1992.
• Scruton, Roger. The Aesthetics of Music. Oxford: Oxford University Press, 1997. ISBN 978-0-19-816727-3.
• Sorgner, S. L./Fuerbeth, O. (ed.) "Music in German Philosophy: An Introduction". Chicago, University of Chicago Press, 2010. ISBN 0-226-76837-6
• Sorce Keller, Marcello. What Makes Music European. Looking Beyond Sound. Latham, NJ: Scarecrow Press, 2011.
• Thakar, Markand. Looking for the 'Harp' Quartet: An Investigation into Musical Beauty. University of Rochester Press, 2011.

External links[link]

• The Aesthetics of Popular Music (on-line encyclopedia entry)
• "On the aesthetics of popular music" by Ralf von Appen
• The Philosophy of Music (on-line encyclopedia entry)
• Schumann, a Romantic-era composer (on-line biography)
• PhilosophyofMusic.org edited by Dustin Garlitz

Isabelle Peretz is a Professor of Psychology at the University of Montreal, holding a Canada Research Chair and Casavant Chair in neurocognition of music.. She specializes in music cognition, focusing on congenital and acquired musical disorders (amusia) and on the cognitive and biological foundations of music processing in general. In 2005, Peretz became the founding co-director of the international laboratory for Brain, Music, and Sound research (BRAMS), a multi-university consortium that is jointly affiliated with McGill University and the University of Montreal. Peretz was educated in Brussels, Belgium, and she earned her Ph.D. in experimental psychology at the Université Libre de Bruxelles in 1984, after which she accepted a faculty position at University of Montreal, where she has remained ever since.

External links[link]

• Isabelle Peretz's Homepage
• Peretz Music and Cognition Lab
• BRAMS Website

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Leon Botstein (born December 14, 1946 in Switzerland) is an American conductor, scholar, and the President of Bard College.

Family[link]

Botstein is the brother of biologist David Botstein and husband of art historian Barbara Haskell. Both of Botstein's parents were physicians.

Career[link]

Botstein is the music director and principal conductor of the American Symphony Orchestra (ASO) and conductor laureate of the Jerusalem Symphony Orchestra (JSO), where he served as music director and principal conductor from 2003-2010. He is also the founder and co-Artistic Director of the Bard Music Festival. He is a member of the Board of Directors of The After-School Corporation,^[1] a nonprofit organization dedicated to expanding educational opportunities for all students. He also serves as the Board Chairman of the Central European University.

Botstein is a leading advocate of progressive education. He is the author of Jefferson’s Children: Education and the Promise of American Culture and Judentum und Modernitaet and has published widely on music, education, history, and culture. He graduated at age 16 from the High School of Music and Art in New York, and earned a bachelor's degree from the University of Chicago and a Ph.D. from Harvard University in music history. He credits David Landes and Harold Farberman as his mentors.

Botstein became the youngest college president in U.S. history at age 23, serving from 1970 to 1975 at the now-defunct Franconia College, after which he was named president of Bard College.

As music director of the American Symphony Orchestra, Botstein emerged as a significant proponent of "thematic programming," which attempts to assemble concert programs having a common theme grounded in literature, music history, or art. He also focused the ASO's programming on the performance of infrequently-performed works by major composers and the best examples of works by lesser-known composers, with a particular emphasis on U.S. premiere performances. In addition to the orchestra's main concert series at Carnegie Hall, Botstein inaugurated the Bard Music Festival with the participation of the ASO, a summer series which focuses on one composer each summer for an intensive series of concerts, lectures, and panel discussions. He also presents a series called "Classics Declassified," devoting each program to a piece from the standard orchestral repertory. Botstein lectures about the piece for about an hour, using the orchestra to provide illustrations for his talk, then performs the entire piece, then opens the floor to questions from the audience directed at him and at members of the orchestra. This series, originally presented at Columbia University's Miller Theater, proved so popular that it was moved to Symphony Space for the 2007–2008 season. He also inaugurated an important series of recordings of neglected masterpieces with the Telarc label, using the ASO and a variety of European orchestras. In addition to his work with the ASO and JSO, Botstein has performed as a guest conductor with, among many others, the London Philharmonic Orchestra, New York City Opera, BBC Symphony Orchestra, London Symphony Orchestra, St. Petersburg Philharmonic Orchestra, and NDR Symphony Orchestra. Many live recordings of his performances, including the prestigious operas performed every summer during the Bard SummerScape festival, are widely available on compact disc and on Internet sites such as iTunes, Amazon, and Spotify.

Botstein’s many books, essays, and articles on music and culture have earned him a reputation as a leading musicologist. His essays in the Princeton University Press series^[2] of books devoted to composers featured during the annual Bard Music Festival exemplify his efforts to address the complex social, political, and artistic influences and context of his subject. Of his recent essay in this series, on Jean Sibelius, the Times Literary Supplement wrote that that Sibelius’s “critical reputation is epitomized by Leon Botstein.”^[3] He has also written extensively about music and culture in 19th-century Vienna, Jewish European culture, and modernism. His book Judentum und Modernität: Essays zur Rolle der Juden in der deutschen und österreichischen Kultur, 1848–1938 was written in German and has been translated into Russian.

Botstein’s unique position as a leading music scholar, performer, and founder and coartistic director of the Bard Music Festival have enabled him to have an extraordinary impact on both music scholarship and performance. As the Wall Street Journal’s Barrymore Laurence Scherer observes, “the Bard Music Festival…no longer needs an introduction. Under the provocative guidance of the conductor-scholar Leon Botstein, it has long been one of the most intellectually stimulating of all American summer festivals and frequently is one of the most musically satisfying. Each year, through discussions by major scholars and illustrative concerts often programmed to overflowing, Bard audiences have investigated the oeuvre of a major composer in the context of the society, politics, literature, art and music of his times.”^[4]

Awards[link]

In 2010, Botstein was elected to the American Philosophical Society, the oldest learned society in the United States.

In 2009, Botstein was awarded a Carnegie Academic Leadership Award. The Carnegie Corporation annually chooses exceptional leaders of American higher education who have demonstrated outstanding leadership in the realms of curricular innovation, reform of K-12 education and the promotion of strong links between their institution and their local communities.

In 2006, Botstein's recording of Popov's Symphony No. 1 and Shostakovich's Theme and Variations with the London Symphony Orchestra was nominated for a Grammy Award in the category of Best Orchestral Performance.

In 2003, Botstein received the Award for Distinguished Service to the Arts from the American Academy of Arts and Letters.^[5]

In 1996, he received the Harvard Centennial Medal, an honor given by the Harvard Graduate School of Arts and Sciences to recipients of graduate degrees from the School for their "contributions to society".

Bard College[link]

Botstein became Bard College's 14th and current president in 1975. Botstein, who is also Bard's Leon Levy Professor in the Arts and Humanities, has been a pioneer in linking the liberal arts and higher education to public secondary schools. In 1979, Botstein oversaw Bard's acquisition of Bard College at Simon's Rock, the oldest early college entrance program and the only accredited four-year early college to date. Along with administrators from Simon's Rock, he was instrumental in the founding of New York City's Bard High School Early College in 2001. During Botstein’s 35-year tenure, Bard has established eight graduate schools, the Bard College Conservatory of Music, and the Levy Economics Institute of Bard College.

Botstein has greatly extended Bard’s reach internationally, leading the creation of new programs on several continents. In partnership with Saint Petersburg State University, Bard established in 1997 the first liberal arts college program in Russia, Smolny College, which offers dual degrees from Saint Petersburg State University and Bard. In 1998, the Institute for International Liberal Education (IILE)] ^[6]was formed at Bard to advance the theory and practice of international liberal arts education. Bard’s other international programs include the Al-Quds Bard Partnership,^[7] a collaboration in Jerusalem between Bard College and Al-Quds University that was established in 2008 to improve the Palestinian education system; the International Human Rights Exchange (IHRE);^[8] the Program in International Education (PIE); and joint programs with American University of Central Asia and Central European University.

Botstein has also led Bard to become a regional and national leader in art and culture.^[9] In 1990, Bard opened the Center for Curatorial Studies and Art in Contemporary Culture, which now includes the Hessel Museum of Art. In 2003, the college opened the Frank Gehry-designed Richard B. Fisher Center for the Performing Arts at Bard College, which houses two theaters, as well as dance and theater studios that provide rehearsal space for undergraduates. The Fisher Center is the home of the Bard Music Festival as well as Bard SummerScape, an annual festival of music, film, dance, and drama.

In February 2009, Botstein was accused by Joel Kovel of terminating Kovel from his position as professor at Bard in retaliation for the latter's political views, an accusation which Botstein denied.^[10][11]

Works[link]

Botstein's written work includes Jefferson's Children: Education and the Promise of American Culture, in which he argues that high school-level education after the tenth grade should be abolished in favor of a national early college system, as well as several other books in the fields of musicology and education. He is editor of The Musical Quarterly and a frequent contributor to periodicals focusing on music and education.

Public Appearances[link]

• Botstein was interviewed as a guest on The Colbert Report^[12] on June 4, 2007^[13] and again on October 5, 2010.^[14]
• On August 12, 2009,^[15] Botstein appeared on the Charlie Rose Show on PBS to discuss the Al-Quds Bard Partnership,^[16] a groundbreaking collaboration in Jerusalem between Bard College and Al-Quds University.
• Botstein is regularly featured on Albany, New York-area NPR affiliate WAMC-FM.
• Botstein was the Keynote Speaker at the Stuyvesant High School 2007 Graduation on June 25, 2007
• He conducted the revival of John Foulds's World Requiem at the Royal Albert Hall in London on 11 November 2007.^[17]
• American premiere of the Herbstsymphonie (Autumn Symphony) by Austrian composer Joseph Marx on December 7, 2008 with the American Symphony Orchestra in Avery Fisher Hall, NY.

Books[link]

• Botstein, Leon (forthcoming). Music and Modernity. New Haven, CT: Yale University Press. 
• Botstein, Leon (2011). Freud und Wittgenstein Sprache und menschliche Natur. Vienna: Picus Verlag. 
• Botstein, Leon (1991). Judentum und Modernität : Essays zur Rolle der Juden in der deutschen und österreichischen Kultur, 1848 bis 1938. Vienna: Böhlau. ISBN 3-205-05358-3. 
• Botstein, Leon (1997). Jefferson's children : education and the promise of American culture. New York: Doubleday. ISBN 0-385-47555-1. 
• "The Compleat Brahms" (New York, 1999), editor
• "quasi una fantasia: Juden und die Musikstadt Wien" (Timms, Edward / Hanak, Werner / Botstein, Leon / Jüdisches Museum Wien ) (with 2 CDs; contributors: Karl Albrecht-Weinberger, Otto Biba, Philip V. Bohlman, Leon Botstein, Elisabeth Derow-Turnauer, Wolfgang Dosch, Albrecht Dümling, Tina Frühauf, Primavera Gruber, Michael Haas, Werner Hanak, Hartmut Krones, Elena Ostleitner, Michael Steinberg, & Sara Trampuz)

Selected Articles, Essays, and Chapters[link]

• (2011) "The Jewish Question in Music". The Musical Quarterly 94 (4): 439–53. 
• (2011) Botstein, Leon. "Old Masters: Jean Sibelius and Richard Strauss in the Twentieth Century". In Grimley, Daniel. Jean Sibelius and His World. Princeton, NJ: Princeton University Press. pp. 256–304. ISBN 978-0-691-15281-3. 
• (2011) Botstein, Leon. "The Eye of the Needle: Music as History after the Age of Recording". In Fulcher, Jane. The Oxford Handbook to the New Cultural History of Music. New York: Oxford University Press. pp. 256–304. ISBN 0-19-534186-4. 
• (2010) Botstein, Leon. "Alban Berg and the Memory of Modernism". In Hailey, Christopher. Alban Berg and His World. Princeton, NJ: Princeton University Press. pp. 299–343. ISBN 978-0-691-14856-4. 
• (2010) "The High School Sinkhole". New York Times. February 10, 2010. http://roomfordebate.blogs.nytimes.com/2010/02/18/a-diploma-in-10th-grade/?scp=1&sq=the%20high%20school%20sinkhole&st=cse. 
• (2010) "Max Weber and Music History". The Musical Quarterly 93 (2): 183–191. 
• (2010) "Why Mahler?". Wall Street Journal. October 9, 2010. 
• (2009) "For the Love of Learning". The New Republic. March 2, 2009. 
• (2009) Botstein, Leon. "German Jews and Wagner". In Grey, Thomas. Richard Wagner and His World. Princeton, NJ: Princeton University Press. pp. 151–197. ISBN 978-0-691-14366-8. 
• (2009) "Mendelssohn as Jew: Revisiting Controversy on the Occasion of the Composer's 200th Birthday". The Musical Quarterly 92 (1-2): 1–8. 
• (2009) "Recovery Depends on School Reform". New York Times. February 2, 2009. http://roomfordebate.blogs.nytimes.com/2009/02/06/preparing-for-the-next-job-market/?scp=1&sq=recovery%20depends%20on%20school%20reform&st=cse. 
• (2008) Botstein, Leon. "Beyond Death and Evil: Prokofiev’s Spirituality and Christian Science". In Morrison, Simon. Sergey Prokofiev and His World. Princeton, NJ: Princeton University Press. pp. 530–561. ISBN 978-0-691-13895-4. 
• (2008) "The Unsung Success of Live Classical Music". Wall Street Journal. October 3, 2008. 
• (2007) "Music in Times of Economic Distress". The Musical Quarterly 90 (2): 167–175. 
• (2007) Botstein, Leon. "Transcending the Enigmas of Biography". In Adams, Byron. Edward Elgar and His World. Princeton, NJ: Princeton University Press. pp. 365–406. ISBN 978-0-691-13446-8. 

Recordings[link]

• (2009) Bruno Walter. Symphony No. 1. NDR Symphony Orchestra, Hamburg. CPO
• (2008) John Foulds. A World Requiem. BBC Symphony Orchestra. Chandos.
• (2007) Paul Dukas. Ariane et Barbe-Bleue. BBC Symphony Orchestra. Telarc.
• (2005) Ernest Chausson. Le roi Arthus. BBC Symphony Orchestra. Telarc.
• (2005) Aaron Copland, Roger Sessions, George Perle, and Bernard Rands. Works by Copland, Sessions, Perle, and Rands. American Symphony Orchestra. New World Records.
• (2003) Richard Strauss. Die Ägyptische Helena. American Symphony Orchestra with Deborah Voigt. Telarc.

References[link]

This article uses bare URLs for citations. Please consider adding full citations so that the article remains verifiable. Several templates and the Reflinks tool are available to assist in formatting. (Reflinks documentation) (March 2012)

Additional sources[link]

• Bigthink interview

External links[link]

• Bard College
• American Symphony Orchestra
• Richard B. Fisher Center for the Performing Arts
• Bard Music Festival
• Bard SummerScape