Mozart's skull -- The case of the purloined partitur -- A tale of two authenticities -- Ancient authenticities -- Operatic authenticity -- Messiah's message -- Is nothing sacred? -- Sound in sound -- Music, science, and semantics -- Authorial intention and the pure musical parameters -- Leonard Meyer's sonata.

This chapter contains sections titled: Introduction Reading to Yourself Self‐Performance and Silent Performance Hearing Voices Reading as Interpretation Reading as Art Reading and Thinking Why Should You Believe Me?

This chapter contains sections titled: Some Varieties of Aesthetic Properties The Aesthetics of Fiction What Properties are Aesthetic? Mind Aesthetics? Number Aesthetics?

This chapter contains sections titled: Temporal and Non‐Temporal Arts Literary Time and Real Time Novel Discontinuity The Goal of the Gaps Musical Time and Real Time A Puzzling Problem A Bizarre Suggestion Historical Narrative Fictional Time and Music‐Fictional Time Formal Structure The Other Proposal.

This chapter contains sections titled: What Am I Doing? My Experience The Title Literature: What Is It? A Friendly Witness?

This chapter contains sections titled: The Art of Silent Reading It's All in the Mind Ideal Presence and Radford's Problem Faulty Foundations Home away from Home? The Text and the Real Seeing and Being Told Suspension of Disbelief Yet Again.

This chapter contains sections titled: Poetry (Briefly) The Aesthetics of Fiction (Again) A Non‐Aesthetic Art? Fiction as Non‐Aesthetic.

This chapter contains sections titled: Radford's Problem Suspension of Disbelief “Willing” Disbelief Disbelief The Long and Short of It Suspension at the Movies Believing the Unbelievable Emotion and Action Experiencing the Movies Suspension in the Theater.

This chapter contains sections titled: A Preliminary Distinction Aesthetics and Philosophy of Art Plato's Problem Aesthetic Properties More Plato and a Little Bit of History A Little More History Hearing with the Inner Ear.

This chapter contains sections titled: Structure Aesthetics Form and Content The Quick and the Dead Good, Bad, Beautiful Goodness and Beauty A Short History Aesthetic Morality Naturalized? Beauty of Soul: A Contemporary Version Ethics, Art, and the Aesthetic Suppose I am Wrong.

This chapter contains sections titled: Epigraphs Twice‐Told Tales Darwin to the Rescue? Back to the Subject Contradiction? The Problem of Obsessive Repetition Reading Again—Again The End of the Beginning.

Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.

In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...

"In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...

Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these (...) subjects are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us (...) explore the differences between the arts. He presents five case studies, three from literature, two from music. With its combination of historical and analytic approaches this is a book for a wide range of readers in philosophy, literary studies, music, and non-academic readers with interests in the arts. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...) type can be interchanged and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, (1) and (2) seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas (3) and (4) just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)

In De Gustibus Peter Kivy deals with a question that has never been fully addressed by philosophers of art: why do we argue about art? We argue about the 'facts' of the world either to influence people's behaviour or simply to get them to see what we take to be the truth about the world. We argue over ethical matters, if we are ethical 'realists,' because we think we are arguing about 'facts' in the world. And we argue about (...) ethics, if we think matters of ethics are simply matters of 'attitude,' to influence the behaviour of others. But why should we argue about works of art? There are no 'actions' we wish to motivate. Whether I think Bach is greater than Beethoven and you think the opposite, why should it matter to either of us to convince the other? Kivy claims here that we argue over taste because we think, mistakenly or not, that we are arguing over matters of fact. (shrink)

Drawing comparisons with other art forms, this book examines the role of aesthetic features in silent reading, such as narrative structure, and the core experience of reading a novel as a story rather than a scholarly exercise. Focuses on the experience of the art form known as the novel Uses the more common perspective of a reader who reads to be told a story, rather than for scholarly or critical analysis Draws comparisons with experience of the other arts, music in (...) particular Explores the different effects of a range of narrative approaches. (shrink)

_The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.

_The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.

Peter Kivy, world-renowned philosopher of art, completed work on this book shortly before his untimely death in 2017. In it he addresses the novel, making an invaluable contribution to the field of philosophy of literature and raising questions of a philosophical nature about the novel that will be of interest both to the professional philosopher and to the general reader.

Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here for (...) the first time, each one unique and accessible, making this collection a delight both to followers of Kivy's work and to first-time readers. (shrink)

Peter Kivy presents a fascinating critical examination of the two rival ways of understanding instrumental music. He argues against 'literary' interpretation in terms of representational or narrative content, and defends musical formalism. Along the way he discusses interpretations of a range of works in the canon of absolute music.

Now reissued with substantial new material, The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Frances Hutcheson, and its huge influence on British aesthetics. Peter Kivy's book is a seminal work on early modern aesthetics, and has been much in demand since going out of print some years ago; this new edition brings the book up to date with the addition of eight essays that Kivy has written on the subject since (...) 1976. (shrink)

Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: that musical works possess perceptual properties and universals do not; that musical works are created and universals cannot be; that universals cannot be destroyed and musical works can; that parts of tokens of the same type can be interchanged (...) and still yield tokens of that type, whereas we cannot interchange parts of performances of the same work and still get performances of the work. Of these claims, and seem to be true, but are not incompatible with a Platonistic construal of the musical work, whereas and just seem to be false and, therefore, of no concern to the musical Platonist. (shrink)