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  1. Erkki Huovinen (2013). Concatenationism and Anti‐Architectonicism in Musical Understanding. Journal of Aesthetics and Art Criticism 71 (3):247-260.
    This article discusses Jerrold Levinson's theory of concatenationism, which emphasizes the moment-by-moment character of musical listeners’ basic musical understanding, and the related project of anti-architectonicism, which denies the influence of large-scale music-structural information on basic musical understanding. A reconstruction of Levinson's position reveals him to embrace a qualified architectonicism himself and shows that his remaining anti-architectonicism is afflicted with several problems. While the conceptual distinction Levinson draws between a piece of music and its structure as well as his three “intuitions (...)
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  2. Erkki Huovinen (2012). Musical Understandings and Other Essays on the Philosophy of Music by Davies, Stephen. Journal of Aesthetics and Art Criticism 70 (3):315-317.
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  3. Erkki Huovinen & Tobias Pontara (2011). Methodology in Aesthetics: The Case of Musical Expressivity. Philosophical Studies 155 (1):45 - 64.
    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 (...)
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  4. Erkki Huovinen (2008). The Justification of Music-Structural Claims. Philosophy of Music Education Review 16 (1):21-39.
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  5. Erkki Huovinen (2008). Levels and Kinds of Listeners' Musical Understanding. British Journal of Aesthetics 48 (3):315-337.
    This article examines an account of the listener's musical understanding put forward by Stephen Davies. I begin by discussing Davies's "expressibility requirement", according to which a musical listener should be able to express his understanding in sentences that are truth-apt. This is followed by a reconstruction of Davies's argument for the idea that high levels of musical understanding can be attained without possessing music-theoretical concepts. Such a conclusion is seen to follow from his belief that although musical understandings may be (...)
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