David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
Learn more about PhilPapers
Modern Schoolman 86 (3-4):239-260 (2009)
We can experience music as sad, as exuberant, as sombre. We can experience it as expressing immensity, identification with the rest of humanity, or gratitude. The foundational question of what it is for music to express these or anything else is easily asked; and it has proved extraordinarily difficult to answer satisfactorily. The question of what it is for emotion or other states to be heard in music is not the causal or computational question of how it comes to be heard. It is not the question of the social influences on how we hear music. Nor is it the question of the evolutionary explanation, if such there be, of the existence of such perceptions. It is the constitutive question, the ‘what-is-it?’ question, that is my concern here. It is a question unaddressed by purely syntactic analyses of music. A correct answer to this constitutive question constrains all those other, equally challenging, empirical questions about music. I am going to propose an answer to the constitutive question, drawing on the resources of our current philosophy of perception and cognition within contemporary philosophy of mind. In the very tight space available to me, I will not survey the extant competing proposals, but simply offer my own suggestion straight out, while noting some points of contrast with other approaches. My account is built from three components, or more strictly, from two components together with a certain conception of the way they are related to each other in the perception of music. My plan is to expound these components; to formulate the account built from them; to give some examples of what the account can explain; and to discuss very briefly its bearing on some classical issues about the perception of music.
|Keywords||No keywords specified (fix it)|
|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
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
L. B. Brown (2011). Do Higher-Order Music Ontologies Rest on a Mistake? British Journal of Aesthetics 51 (2):169-184.
Carolyn Beckingham (2009). Moribund Music: Can Classical Music Be Saved? Sussex Academic Press.
Ruud Welten (2009). What Do We Hear When We Hear Music? Studia Phaenomenologica 9:269-286.
Peter Kivy (2011). Antithetical Arts: On the Ancient Quarrel Between Literature and Music. OUP Oxford.
Jenefer Robinson (ed.) (1997). Music & Meaning. Cornell University Press.
W. A. Mathieu (2010). Bridge of Waves: What Music is and How Listening to It Changes the World. Shambhala.
Rita Aiello & John A. Sloboda (eds.) (1994). Musical Perceptions. Oxford University Press.
Nick Zangwill (2009). Appropriate Musical Metaphors. Nordic Journal of Aesthetics 20 (38).
Malcolm Budd (1985). Music and the Emotions: The Philosophical Theories. Routledge & Kegan Paul.
Added to index2009-04-06
Total downloads171 ( #20,902 of 1,906,958 )
Recent downloads (6 months)7 ( #109,456 of 1,906,958 )
How can I increase my downloads?