David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Mind and Language 19 (4):428–441 (2004)
In this paper I address the issue of narrativity in music. The central question is the extent to which pure instrumental music in the classical tradition can or should be understood as narrative, that is, as narrating a story of some kind. I am interested in the varying potential and aptness for narrative construal of different sorts of instrumental music, and in what the content of such narratives might plausibly be thought to be. But ultimately I explore, at greater length, an alternative way of construing musical process, namely, as dramatic rather than narrative in nature, following the lead of two musicologists, Anthony Newcomb and Fred Maus. After a comparison of the respective merits of narrative and dramatic construals of music, the paper concludes with an illustrative reading, in dramatic mode, of part of the opening movement of Schubert's Piano Sonata in A minor, D. 845.
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References found in this work BETA
Kendall L. Walton (1990). Mimesis as Make-Believe: On the Foundations of the Representational Arts. Harvard University Press.
Gregory Currie (1990). The Nature of Fiction. Cambridge University Press.
Jon Elster (2000). Ulysses Unbound: Studies in Rationality, Precommitment, and Constraints. Cambridge University Press.
Noël Carroll (2001). Beyond Aesthetics: Philosophical Essays. Cambridge University Press.
Jerrold Levinson (1990). Music, Art, and Metaphysics: Essays in Philosophical Aesthetics. Cornell University Press.
Citations of this work BETA
Diana Omigie (2015). Music and Literature: Are There Shared Empathy and Predictive Mechanisms Underlying Their Affective Impact? Frontiers in Psychology 6.
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