By Joel Rudinow
"Exceptionally illuminating and philosophically sophisticated."---Ted Cohen, Professor of Philosophy, college of Chicago"In this audacious and long-awaited ebook, Joel Rudinow takes heavily various interrelated concerns that the majority track theorizing is embarrassed to take on. humans frequently question me approximately song and spirituality. With Soul track, i will be able to eventually suggest a e-book that gives real philosophical perception into the topic."---Theodore Gracyk, Professor of Philosophy, Minnesota country collage MoorheadThe thought is as unusual because it is commonplace---that the "soul" in soul tune is greater than only a identify, that by some means the track really faucets into whatever crucial rooted within the religious idea of the soul itself. Or is it unusual? From the civil rights circulate and past, soul track has performed a key, undeniable position in moments of nationwide therapeutic. after all, American well known tune has lengthy been embroiled in controversies over its religious purity (or lack thereof). yet why? despite the fact that effortless it may appear to brush off those principles and debates as old fashioned and simply symbolic, they persist.In "Soul song: monitoring the religious Roots of dad from Plato to Motown," Joel Rudinow, a thinker of track, takes those ordinary notions and exposes them to severe scrutiny. How, Rudinow asks, does track really paintings upon the soul, separately and jointly? And what does it suggest to claim that track could be spiritually healing or poisonous? This illuminating, meditative exploration leads from the metaphysical suggestion of the soul to the legend of Robert Johnson to the philosophies of Plato and Leo Strauss to the heritage of race and racism in American pop culture to present medical practices of track therapy.Joel Rudinow teaches within the Philosophy and arts Departments at Santa Rosa Junior university and is the coauthor of "Invitation to severe Thinking" and the coeditor of "Ethics and Values within the details Age."
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Extra info for Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown (Tracking Pop)
The size of his hands may have had something to do with the way he played. Listening to Johnson you often swear two guitarists are playing, not one. His long ‹ngers reached for notes other guitarists could only dream of, while his penchant for slide guitar and “walking” bass riffs gave his style a remarkably rich language of notes, tones, and sounds. 21 This, taken together with the fact that there is apparently no early indication of this virtuoso mastery anywhere in the oral histories, which portray an inept, aspiring guitarist, presents an anomaly, a phenomenon that seems to defy mundane explanation.
To get a sense of the philosophical intrigue, one good place to start is with the question of how we are supposed to determine what kinds or instances or performances of music are the demonic ones. Is death metal demonic? What about christian death metal? Or would that be as oxymoronic as “holy blues” is supposed to be? Or does music’s demonic quotient depend on something other than such ill-de‹ned music-marketing niche labels as these? Are there any criteria or objective standards we can appeal to in deciding controversial cases?
What would it mean to classify the legend of Robert Johnson as an instance of “superstition”? What is a superstition? Let us suppose, with philosopher David Hume, that a superstition is a false and/or ill-founded belief in the supernatural. The mind of man is subject to certain unaccountable terrors and apprehensions, proceeding either from the unhappy situation of private or public affairs, from ill health, from a gloomy and melancholy disposition, or from the concurrence of all these circumstances.