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This book is born out of two contradictions: first, it explores the making of meaning in a musical form that was made to lose its meaning at the turn of the nineteenth century; secondly, it is a history of a music that claims to have no history - absolute music. The book therefore writes against that notion of absolute music which tends to be the paradigm for most musicological and analytical studies. It is concerned not so much with what music is, but with why and how meaning is constructed in instrumental music and what structures of knowledge need to be in place for such meaning to exist. From the thought of Vincenzo Galilei to that of Theodore Adorno, Daniel Chua suggests that instrumental music has always been a critical and negative force in modernity, even with its nineteenth-century apotheosis as 'absolute music'.

During the Vietnam War, the newly-independent Singapore struck the position of being non-aligned. It maintained an anti-communist stance while, at least initially, criticizing the United States’

Over the last two centuries, Beethoven's music has been synonymous with the idea of freedom, in particular a freedom embodied in the heroic figure of Prometheus. This image arises from a relatively sm

This book examines the intellectual history of instrumental music, in particular the idea of absolute music. It tries to show how certain ideas in philosophy, theology and the sciences affect the mean

Chua and Lim present documents relating to the formation and development of the Association of Southeast Asian Nations (ASEAN) since its founding in 1967. Much of the material is from an earlier c