***This paper will be published along with Professor Amy Coplan's commentary, "Response to 'Empathy, Timeliness, and Virtuous Hearing'." *** This paper aims to demonstrate how the notion of timeliness enriches our understanding of empathy and its associated virtuous hearing as discussed in liberatory virtue epistemology. I begin by showing how timeliness is relevant to empathy. Next, I apply this insight to the idea of virtuous hearing, in which empathy plays a significant role. I thus broaden the liberatory-epistemological conception of virtuous (...) hearing as a corrective to timing-related injustice. Finally, I connect virtuous hearing with the ancient Greek concept of kairos, clarifying the conditions under which virtuous hearers must be sensitive to another’s opportune timing to testify. (shrink)

I begin by defending Heinrich Gustav Hotho’s foundational edition of the Lectures on Aesthetics (LA) contra Gethmann-Siebert and others who argue for a non-systematic view of Hegel’s aesthetics generally and music specifically. I defend Hegel against the common conceit that his comprehension of music was somehow deficient and introduce the Hegelian idea of absolute agency as performative in art and music. Reference to Kant’s transcendental aesthetics then allows us to grasp how, in Hegel, meaningful tones arise from the vibratory oscillation (...) between selfhood’s presiding unity and its temporal self-positing. I then trace back further elements of musical architecture, such as rhythm, harmony and melody to the temporal oscillation arising from within selfhood. The fundamental ambiguity within temporal oscillation is the source of meaningfulness in music, the feeling that its experience is meaningful without telling us exactly what that meaning is. Meaningfulness forms the absolute Ur-Ton of beautiful music, which arises as determinate tones within selfhood and resonates into the soul of the listener. The temporal vanishing of musical tones within a compositional framework is a pre-linguistic expression of meaning, performative of the ambiguous oscillation between the human and the divine. (shrink)