David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Philosophical Studies 155 (1):45 - 64 (2011)
A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments against them. We will argue that philosophical intuitions are not available for the evaluation of the types of counterarguments that would need to be constructed. Instead, the evaluation of these theories, to the extent that it can succeed at all, will centrally rely on inferential, non-immediate access to our subjective musical experiences. Furthermore, attempted thought experiments lose their methodological function because no proper distinction can be drawn between the persons figuring in the thought-experimental scenario and the evaluator of the scenario. Consequently, some of the central contributions to what is generally understood to be analytic philosophy of art are shown to represent a form of aesthetic criticism, offering much less basis for rational argumentation than is often thought
|Keywords||Intuition Evidence Thought experiments Aesthetics Philosophy of music Expressivity|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
George Bealer (2000). A Theory of the a Priori. Pacific Philosophical Quarterly 81 (1):1–30.
Malcolm Budd (1989). Music and the Communication of Emotion. Journal of Aesthetics and Art Criticism 47 (2):129-138.
Daniel Cohnitz, Sören Häggqvist, Kristoffer Ahlstrom, Joshua Earlenbough, Bernard Molyneaux, Mark Fedyk, Jussi Haukioja, Jonathan Ichikawa & Sebastian Lutz (2009). The Role of Intuitions in Philosophical Methodology. Studia Philosophica Estonica 2.
Stephen Davies (1994). Musical Meaning and Expression. Cornell University Press.
Michael DePaul & William Ramsey (eds.) (1998). Rethinking Intuition: The Psychology of Intuition and its Role in Philosophical Inquiry. Rowman & Littlefield Publishers.
Citations of this work BETA
No citations found.
Similar books and articles
Michael Spitzer (2004). Metaphor and Musical Thought. University of Chicago Press.
Edouard Machery (2011). Thought Experiments and Philosophical Knowledge. Metaphilosophy 42 (3):191-214.
Tom Cochrane (2010). A Simulation Theory of Musical Expressivity. Australasian Journal of Philosophy 88 (2):191-207.
Jessica Brown (2011). Thought Experiments, Intuitions and Philosophical Evidence. Dialectica 65 (4):493-516.
James Genone (2012). Theories of Reference and Experimental Philosophy. Philosophy Compass 7 (2):152-163.
Roger Scruton (2004). Wittgenstein and the Understanding of Music. British Journal of Aesthetics 44 (1):1-9.
Kirk Ludwig (2010). Intuitions and Relativity. Philosophical Psychology 23 (4):427-445.
Alvin I. Goldman (forthcoming). Philosophical Naturalism and Intuitional Methodology. Proceedings and Addresses of the American Philosophical Association.
Elke Brendel (2004). Intuition Pumps and the Proper Use of Thought Experiments. Dialectica 58 (1):89–108.
Andrew Kania (2008). The Methodology of Musical Ontology: Descriptivism and its Implications. British Journal of Aesthetics 48 (4):426-444.
Added to index2010-05-15
Total downloads32 ( #55,329 of 1,102,846 )
Recent downloads (6 months)2 ( #182,775 of 1,102,846 )
How can I increase my downloads?