Hallelujah Effect

Babette Babich is Professor of Philosophy at Fordham University in New York City. She is author, among other books, of La fin de la pensée? Philosophie analytique contre philosophie continentale (2012) and Words in Blood, Like Flowers: Philosophy and Poetry, Music and Eros in Hölderlin, Nietzsche and Heidegger (2006). Editor of eight book collections, she is also executive editor of New Nietzsche Studies.

'... her primary focus is the meaning of dissonance, whether in Beethoven's Ninth Symphony, Wagner's Tristan lind Isolde, or Cohen's broken chords. The message of all three works is that harmony is an illusion, while tragedy and pain lead to truth.' The Beethoven Journal ’Babette Babich practices philosophical inquiry in the classroom. With The Hallelujah Effect she has brought her musings on philosophy and music to the world. If the role of a philosopher is to give us much to think about, Babich certainly accomplishes this in her book. From its first pages, The Hallelujah Effect is filled with ideas’. Rock Music Studies ’... in The Hallelujah Effect Babich presents a wealth of thoughts on the engagement between philosophy and music, and it is in her appraisals of Adorno and Nietzsche that the strengths of the book become apparent’. Musicology Australia '... this is a thought-provoking book that seeks to understand our current media culture within a philosophical context. Babich’s observations and conclusions are compelling ...' Canadian Association of Music Libraries Review

• Contents: Prelude: the Hallelujah effect on the internet; The Hallelujah effect, Cohen’s secret song and the music industry; Leonard Cohen’s Hallelujah and other Hallelujahs: from Handel’s Hallelujah Chorus to the Hallel Psalms; On male desire and music: misogyny, love, and the beauty of men; ’Covering’ Leonard Cohen’s Hallelujah: music makes the song from John Cale to k.d. lang; ’You don’t really care for music, do ya?’; Performance practice and the Hallelujah effect; Interlude: Adorno’s phenomenology: radio physiognomy and music; Interlude: Mousiké techné; The spirit of music in The Birth of Tragedy: Nietzsche’s phenomenological investigations of music and word; Nietzsche and Beethoven: on the ’becoming-human of dissonance’; Bibliography; Index.