David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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British Journal of Aesthetics 49 (3):277-281 (2009)
Christopher Peacocke's paper presents a characteristically rich and original theory of the so-called expressive qualities of music. It is, surely, impossible to come to a verdict on such an interesting theory quickly, and it will, no doubt, attract continuing and merited attention. The purpose of my preliminary reflections is to raise some questions about the proposal and to express some reservations, but I see these remarks as simply opening and inconclusive ones in a longer dialogue. I am going to divide my comments into two parts. The first set is brief and relates to the content of Peacocke's theory. The second set expresses doubts as to the importance in our musical life of anything corresponding to Peacocke's hearing metaphorically-as (allowing that we do understand what it is)
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