Musical Experience

In a letter to Czerny about teaching his nephew to play the fortepiano, Beethoven indicates that mistakes on notes are ‘minor mistakes.’ At the same time, problems like ignoring dynamic marks are ‘much more serious’ (Gerig 2007: 95). What could ground his insistence on following the dynamic marks on the score? The normativity of the score-following rule as an aesthetic rule is at stake here. In this paper, I raise concerns about the Practice-Based view, which, as I shall argue, grounds (...) the score-following rule in the same way as the rules of chess are grounded. As an alternative approach, I propose that the Genuine Performing Experience grounds the normativity of the score-following rule. My proposal not only offers a novel explanation of the normativity of the rule but also explains the meaningfulness of score compliance in classical music performance by highlighting its unique significance among other human practices. (shrink)

This paper asks a number of methodological questions related to the field of music performance as explored in musicological research. What information can musicologists glean from analysing individual performances? What is the impact of work performance analysis on the paradigm of musicological studies? What is the role of the aesthetic-philosophical component in such analysis? In an attempt to answer these questions, music performance is analysed in the first section of this paper from the perspective of musicology as the primary discipline (...) studying music and its sources. In the second section, philosophical analysis of the musical source is presented in the context of musicological studies and performance practice. Analysed in the third section are those major aspects of music performance that are of interest to philosophical musicology. In the conclusion, the benefits and methodological limitations of conducting musicological research into music performance are indicated. The aim of this article is to highlight the need for an interdisciplinary dialogue between musicology and philosophy concerning music performance, which has a significant bearing on our understanding of the musical work itself. The author also proposes to expand musicology’s research methods by incorporating detailed analysis of the performative aspects of the musical work. (shrink)

Scholarship on death metal tends to emphasise its grotesque and provocative aspects, and to define it in terms of transgression. Like many other forms of extreme music, death metal playfully infringes the principles of morality and decency by representing topics that usually remain inexpressible. In this paper, I propose to draw on the methodology of Comparative Religion to reframe and complement this approach. I relate death metal to Buddhist meditation techniques that involve bodily decay and sickness, and suggest that underneath (...) its grotesque appearance, death metal reveals a meditative element that likens it to religious practice. In the light of this comparative and religious approach, I draw some conclusions for the future of Metal Studies. (shrink)

Mostly essays on music ontology . Collected but not proofed -- left as-is for each . ToC : September 3, 2013 — “ Frege’s Aesthetics in ‘The Thought‘ “ With humility — “ The Musical Work as Sound and Experience “ September 17, 2014 — “ Argument Critique: Aristotle on Parmenides “ September 21, 2014 — “ Wollheim, Intent, and Correct Perception “ October 29, 2014 — “ When is a Painting a Painting? “ November 19, 2014 — “ Broad (...) and Prior; Time and Change “ December 12, 2014 — “ Beautiful Things: On Kantian Judgment and its Objects “. (shrink)

Die Hochschule für Künste Bremen (HfK) gehört zu den wenigen Kunsthochschulen in Deutschland, die die Fachbereiche Musik, Kunst und Design unter einem Dach vereint. 2018 richtete die HfK Bremen eine bundesweit einzigartige Professur ein, die an der Schnittstelle dieser Fachbereiche angesiedelt ist. In diesem Rahmen entstand der durch den bildenden Künstler, Performer und Musiker Raphael Sbrzesny initiierte fachübergreifende Laborraum, die „Interpret*innenkammer“, der die Qualitäten einer Probebühne, eines Proberaums und eines Ateliers in sich vereint. Über fünf Jahre und in rund 50 (...) Projekten konnte sich in der Folge eine Form der künstlerischen Lehre entwickeln, in der sich Theorie und Praxis, Affirmation und Kritik, Traditionsbewusstsein und Gegenwartsbezug auf neue Weise miteinander verbinden. Im Zentrum der polyphonen Werkstatt stehen kooperative und kollaborative Arbeitsformen, erweiterte Konzertformate, ortsspezifische Interventionen mit einem Fokus auf öffentlichem Raum sowie große transdisziplinäre Performanceprojekte zwischen Design, freier Kunst, digitalen Medien und Musik. -/- Die Publikation Interpret*innenkammer – Polyphone Werkstatt. Sound, Performance & Konzept ist als offenes Archiv angelegt, das in 50 Heften verschiedene interdisziplinäre Lehrprojekte rund um die Professur für Kreation und Interpretation mit den Schwerpunkten Sound, Performance und Konzept an der HfK Bremen dokumentiert. Mit Beiträgen von Fabian Goppelsröder, Christina Scheib, Judith-Frederike Popp, Wolfgang Ullrich, Bastian Zimmermann und Raphael Sbrzesny. (shrink)

From the very beginning, phenomenology met with sound inquiry. Not only the relationship between Husserl and Stumpf, whose investigations influenced numerous philosophers and twenty-century trends, but a whole musicological thread (Mersmann, Eimert, Güldenstein, Bekker) referred to phenomenology during the twenties and following decades (Besseler, Leibowitz, Schaeffer, Rognoni). From another side, explicit aesthetic reflections are traceable in the Göttingen Circle but also in W. Conrad, Schütz, Plessner, and Anders-Stern. Even Heidegger, Merleau-Ponty, up to Smith, Ihde, Dufrenne, Clifton, Ferrara, and Piana, which (...) more or less systematically dealt with sound. The aim of this work is to show the fundamental cores of a phenomenology of sound; then, the continuing need for research. Through themes like the constitution of the sound-object, the phenomenological distinction between sounds and noises, and the spatial features of sound, the phenomenological scenario of sound inquiry will be pointed out and analyzed. (shrink)

En esta entrevista, el integrante de RIO, Cucho Galarza, narra cómo conformó este grupo musical en el Perú y la repercusión que tuvo en la conciencia de los ciudadanos. Esto se generaría porque las letras de sus canciones estaban caracterizadas por un mensaje social y político que se vivía en ese entonces. Por ese motivo, el objetivo de este trabajo es que el artista revele qué hizo asequible que la transmisión de su ideal fuera bien recibida por la sociedad, sin (...) que tenga que enfrentarse a la censura o al silencio político. Más allá de ese contenido, debe destacarse que la melodía de sus canciones también hizo posible que la recepción fuera grata. Para finalizar, en esta conversación, se conocerá toda esa trayectoria musical que permitió que la banda RIO lograse un valor en la sociedad peruana que hasta hoy en día se le recuerda y se le escucha. (shrink)

Menschen sind häufig nicht ganz bei der Sache. Oft finden wir sie abwesend, nicht ganz da, sich in Tagträume verlierend, in Gedanken schon bei der nächsten Sache; finden sie irgendwie nicht ganz hinein in die Situationen, mit denen sie sich gerade konfrontiert finden. Der Beitrag entwickelt die These, dass die Rede von der "Immersivität" von Erfahrung nicht erst bei technologisch oder ästhetisch mediierten Erlebnissen des Versetztseins in künstliche oder virtuelle "Welten" und Umgebungen am Platz, gewöhnliche menschliche Erfahrung vielmehr ganz grundsätzlich (...) durch eine immersive Dynamik des Hineinfindens in und Hinausgeratens aus Situationen charakterisiert ist: Noch bevor wir uns ein bewusstes Bild konkreter Umstände und Möglichkeiten gemacht haben, finden wir uns gewöhnlich schon in Situationen verortet. Diese zeichnen bestimmte Rhythmen und Richtungen, Valenzen und Tendenzen, Bedeutsamkeiten und Möglichkeiten vor. Der Beitrag skizziert eine Phänomenologie der Immersion, die auch ein tieferes Verständnis technologisch oder ästhetisch mediierter Immersionserfahrungen verspricht. (shrink)

Whilst arguing for sounds as repeatable objects does not seem suitable to our auditory experience, considering them as events can then help us understand some of their main features. In this sense, sounds are events happening to material objects; they have a beginning and an end; they are ephemeral entities that we cannot grasp as ordinary objects. Nevertheless, supporters of event theory usually focus on the autonomous status that sounds manifest from the things in the world. Conversely, when we hear (...) sounds, we hear what and where they are sounding even in those theories that I will call detached-sound theories; in hearing them we hear how different materials create different sounds. Within the different positions of the event theory to pure-event or acousmatic proposal, the importance and role that the material has in the creation of diverse sounds does not always seem to be recognized. In this paper, I therefore aim to show how the materiality of resonating bodies and objects is given in all forms of auditory experience, not until analyzed the differences between object and event accounts in the philosophy of sound. (shrink)

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...) by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

Beat perception has received very little attention from either philosophers of mind or philosophers of music. This neglect is unfortunate, for the topic is rich with philosophical interest. This article addresses two questions. The first concerns the nature of our experience of musical beat. Here, we argue that experiences of beat are forms of auditory perception. The second question concerns the nature of musical beat itself: what are beats? We defend a form of anthropocentric realism about beats: beats are mind‐independent (...) properties of sound sequences whose nature can be understood only in relation to our perceptual capacities. (shrink)

In this dissertation, I address two questions about auditory and musical experience: (1) How can music (a set of organized sounds) be heard as expressive of emotions such as sadness or happiness? (2) How are sounds (not limited to musical sounds) and their sources related to each other? Regarding the first question, my focus is on the experience of musical expression: what it is like to experience music as cheerful or anxious, for example. I argue that our so experiencing music (...) is based on experiencing a feeling while attending to the relevant qualities of an expressive piece or passage of music. I suggest that to hear the flow and continuity of music, we feel an inner movement, and this feeling sometimes leads us to attribute emotions to music. This is a version of a so-called arousal theory of musical expression, but a merit of my proposal compared with previously defended arousal and cognitive views is that it can explain better how attending to musical properties results in hearing music as expressive. The second question of the dissertation relates to the problem of how when we hear sounds, we hear them as being of things and events in our surroundings (we can hear, for example, the sound of a metal bar being struck, a wooden door being knocked, a violin being bowed, and so on). How should we explain this relation between a sound and the thing it is a sound of? I argue that a sound is a property of an object and the event it participates in to make that sound. In other words, a sound is a complex property instantiated by an object and the relevant (sonic) event. For example, when I hear the sound of a violin being bowed, I hear properties of the instrument and properties of the bowing of the instrument’s strings in that sound. An advantage my theory has, particularly over the event and property theories of sound in the literature, is that it can explain more convincingly how sounds give us perceptual access to the things and events they are sounds of. I will also sketch a future research direction based on applying my theory of sound to explore the content of musical experience, what we hear by hearing musical sounds in a piece of music. (shrink)

The article presents Hanslick’s aesthetic formalism as the starting point of the contemporary aesthetics of music. His book, written in the 19th century, is considered contemporary because it still proves to be influential and fruitful in the contemporary theoretical circles, especially in the modern analytic aesthetics of music, where it is widely cited and discussed. The article positions Hanslick’s book in relation to his nearest predecessors Kant and Herbart, and to the neighbouring area where the formalistic view appeared, namely in (...) Fidler’s visual formalism in fine arts. It is shown that by being the first piece of writing to attempt to systematically and comprehensively determine the essence and the content of music, and the criteria for evaluation of musical worth, Hanslick’s book sets the foundation for a rigorous examination of the aesthetics of music, and also breaks off with the widely ingrained preconceptions of music, which were in themselves an obstacle to establishing the aesthetics of music as a scientific discipline. (shrink)

What little work has been done on high fidelity/audiophile aesthetics uniformly agrees that the aesthetic aim of high fidelity is to achieve maximum transparency—the degree to which the listening experience is qualitatively identical to hearing the live instruments. The present paper argues that due to modern recording techniques, transparency is often impossible and may not be the proper aesthetic goal even in cases of documentary recordings. Instead, audiophilia should be understood as a broadly pluralist artistic endeavor that aims at an (...) idealized generation of a musical event. This positive conception serves to explain away certain debates among audiophiles themselves. (shrink)

In a 1995 interview, contemporary American composer John Zorn stated: ‘I got involved in music because of fi lm […] There’s a lot of fi lm elements in my music’ (Duckworth, 1995, p. 451). Scholars and critics have since widely noted these cinematic elements, with emphasis being placed on Zorn’s genre of so-called ‘fi le card compositions’. Whilst these studies have primarily concentrated on how the arrangement of sound blocks – the disjointed segments of Zorn’s compositions – can be compared (...) to cinematic montage, this article instead focusses on how sound blocks suggest the visual aspects of cinema. To delve deeper into the visuo-cinematic qualities of Zorn’s fi le card compositions, an idealised cinematic listener will be constructed, aided by various psychological, semiotic, philosophical and fi lm theories. I will suggest that a listener occupying a hypnogogic state projects moving images, akin to those of cinema, onto what Bernard Lewin fi rst called a ‘dream screen’. These projections occur due to intertextual associations made between fi le card compositions and the artistic fi gures to whom they are dedicated. These images combine with the sounds that brought them into being to form an audio-visual diegesis, which can be considered a type of half-imagined fi lm. The cinematic listener then actively draws out of this diegesis a narrative, via the semi-conscious process Boris Eikhenbaum called ‘inner speech’. I will conclude by giving some broader justifi cation for the methodology that brought this cinematic listener into being and suggest how the cinematic listener may be further utilised to provide musical analyses for fi le card works. (shrink)

I suoni e le immagini sembrano appartenere a due forme dell’esperienza profondamente distinte. Due registri sensoriali antitetici cui corrispondono due fenomeni accostabili, ma mai completamente unibili. Eppure si ricorre spesso all’espressione immagine sonora, che cosa si intende precisamente? Esiste un punto in cui i suoni e le immagini si appartengono reciprocamente? Può un’immagine risuonare e un suono essere anche un’immagine? Il testo cerca di rispondere a questi quesiti scavando e intarsiando una concettualizzazione dell’immagine sonora attraverso un dialogo con la semiotica, (...) la fenomenologia e la filosofia dell’arte. Arricchendosi di una riflessione sul rapporto con il pensiero, l’indagine sull’immagine sonora si declina in tre momenti distinti: il suono con un fondamento d’immagine in cui l’elemento fondante è dato dalla presenza dell’immagine nel suono; il suono e l’immagine che si equivalgono orizzontalmente fondendosi l’uno con l’altra; l’immagine con un fondamento sonoro, in cui si rintracciano presenze sonore nell’immagine visiva. (shrink)

L'articolo analizza i fondamenti delle indagini percettive nell'impostazione fenomenologica. In particolare l'ambito uditivo si struttura in modalità, ricezioni ed analisi che, attraverso la critica di vari autori (Husserl, Heidegger, Dufrenne, Ihde, Schaeffer), si mostrano articolate in due direzioni (soggetto-oggetto e oggetto-soggetto). L'analisi delle componenti costitutive porta a riconoscere come ricorrente tra autori differenti quell'impostazione del problema la quale asserisce che, se da un lato non può prescindere dall'attività percettiva, come attività propria del soggetto, dall'altro questa stessa cerca una legittimità emergente (...) dalle cose stesse. La costituzione, una volta riconosciuto il darsi dell'oggetto sonoro, risiede, tuttavia, nelle attività percettive che delineano così il differenziarsi degli ascolti. (shrink)

What does it mean to enact a jazz beat as a creative performer? This article offers a critical reading of Iyer’s much-cited theory on rhythmic enaction. We locate the sonic environment approach in Iyer’s theory, and criticize him for advancing a one-to-one relationship between everyday perception and full-fledged aural competence of jazz musicians, and for comparing the latter with non-symbolic behaviour of non-human organisms. As an alternative, we suggest a Merleau-Ponty-inspired concept of rhythmic enaction, which we call the enactive communicative (...) approach. Key to this approach is the fact that jazz musicians play by ear, and that the beat emerges because of reciprocal, real-time aural communication. From this perspective, we outline the temporality of a jazz beat as a holistic and dialectical temporal structure. Throughout the discussions, we use John Coltrane’s ‘Trane’s Slo Blues’ as a point of reference. (shrink)

In this chapter I invite the reader to consider the philosophical assumptions which underpin the early career aims and objectives of Barrie Kosky. A focus will be his “language” of opera, and the processes by which the audience is prompted to interpret it. The result will be to see how Kosky creates mystery and meaning while avoiding fantasy and escapism; and can express psychological truth while stimulating subjective interpretations. The point will be to show that Kosky’s oeuvre demonstrates a central (...) concept in the Kantian tradition of aesthetic theory regarding the key process in creative expression, and that is the evocation/communication of “aesthetic ideas”. (shrink)

Philosophers of music, like Charles Swann in Proust’s novel (Proust 1913/1992, p. 360), have traditionally found it difficult to utter the word ‘profound’ unironically. But this changed with Peter Kivy’s 1990 paper ‘The profundity of music’ The problem Kivy draws our attention to is this: we do call some musical works profound. However, Kivy argues, given that a work is profound only if it is about something profound and given that music (or ‘music alone’) is not about anything, this leads (...) to something of a paradox: how can music be profound if it is not about something profound. My aim in this paper is to argue that what makes a work profound is not that it is about something profound, but that it actively challenges any straightforward interpretative activity (while at the same time nudges you to keep on trying to interpret it). I argue that this line of argument is very much in tune with Kivy’s general theoretical commitment that “music alone isn’t about anything” (Kivy 1990, p. 245). (shrink)

Winning essay of the American Society for Aesthetics' inaugural Peter Kivy Prize. Extends Kivy's notion of sonic picturing through engagement with recent work in philosophy of perception. Argues that sonic pictures are more widespread and more aesthetically and artistically important than even Kivy envisioned. Topics discussed include: the nature of sonic pictures; the nature of sounds; what we can (and more importantly, cannot) conclude from musical listening; sonic pictures in film; beatboxing as an art of sonic picturing; and cover songs (...) as sonic pictures. To be published in the Journal of Aesthetics and Art Criticism. (shrink)

Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...) musical works. Engagement with musical works is normally a multimodal phenomenon, where we get input from a number of sense modalities. But even if we screen out any input that is not auditory, multimodal mental imagery will still play an important role that musicians and composers often actively rely on. (shrink)

There is increasing appreciation for the role that location plays in the experience of a musical event. This paper seeks to understand this role in terms of our habitual relationships to place, asking whether and how being musical somewhere can expand and transform our habituated comportment there, and with what consequences. This inquiry is anchored in a series of site-specific improvised performances by Jen Reimer and Max Stein, and the theory and practice of the late experimental music pioneer Pauline Oliveros. (...) The argument made interpreting these performances is grounded in Maurice Merleau-Ponty’s phenomenology of embodiment, and Alia Al-Saji’s reception of it. This paper claims that such site-specific improvised performances can elicit a sort of hesitation in our everyday style of sensory-motor conditioning, and, concomitantly, awaken a layer of sensory living amenable to radically new sonic and behavioural configurations. (shrink)

Almost every facet of the experience of musical listening—from pitch, to rhythm, to the experience of emotion—is thought to be shaped by the meeting and thwarting of expectations. But it is unclear what kind of mental states these expectations are, what their format is, and whether they are conscious or unconscious. Here, we distinguish between different modes of musical listening, arguing that expectations play different roles in each, and we point to the need for increased collaboration between music psychologists and (...) philosophers in order to arrive at a more detailed characterisation of conscious musical experience and the role of expectations therein. (shrink)

La méthode musicale d'improvisation collective exprime une conception du jeu dont l'attitude de base démocratique et émancipatrice suggère des comparaisons avec le concept de la situation idéale du discours formulé par Jürgen Habermas. Cette présomption est expliquée plus en détail dans le cadre d'une approche introductive de l'improvisation collective comme processus de relation caractérisé par l'interactivité et la synchronicité. Après une discussion sur l'action d'improvisation en musique sous ses aspects théoriques, historiques et psychologiques, les différents stades de développement de l'improvisation (...) libre ou collective issus du free jazz dans les années 1960 seront présentés. La sublimation des formes d'expression idiomatiques et culturelles exigées par des musiciens comme Derek Bailey s'expliquera par le développement individuel d'un langage sonore caractéristique sur l'instrument en tant qu'égalisation pour les formes de dialogue asymétriques de cette situation. (shrink)

This paper is about dialogic listening as a precondition for meaningful engagement in Socratic dialogues and for music. In order to arrive at a better understanding of what constitutes dialogic listening in the context of educational philosophical dialogues, I first shed light on the practice of philosophy teaching based on Nelson & Heckmann’s neo-Socratic paradigm and link this practice to Plato’s dialogues. I then argue that the activity of listening to an interlocutor during Socratic dialogues on the one hand, and (...) listening to music on the other, may in both cases be understood as a precondition for the process of engagement and, consequently, the co-creation of meaning as a central objective to the philosophical practice. I show this by discussing both Buber and Gadamer, combining their insights into three interrelated features of dialogic listening: 1) openness, 2) reciprocity, and 3) awareness, which apply to both philosophical dialogues and music. Ultimately, I attempt to make a case for the complementary application of music in the philosophical educational practice. (shrink)

In this chapter, the embodied consciousness of clubbing and raving is considered through the theory of extended mind, according to which the mind is a distributed system where brain, body, and environment play equal parts. Building on the idea of music as affective atmosphere, a case is made for considering the vibe of a dance party as cognitively, socially, and affectively distributed. The chapter suggests that participating in the vibe affords primary musical consciousness—a kind of pre-reflexive state characterized by affective (...) and bodily knowledge—and speculates about the neural correlates of clubbing and raving by means of an analogy with brain research on psychedelic states. (shrink)

Abstract. In this article I compare a robotic gamelan sound installation (the gamelatron) and traditional gamelan, as performed in the American gamelan subculture, in order to specify the concept of atmosphere for use within ethnomusicology. I argue that at the level of affect the gamelatron and gamelan afford similar experiences that I call “atmospheres of felt- relation.” At the level of comprehension they are registered as divergent because of their differential alignment to several discursive binaries: live/recorded, human/machine, individual/group, subject/object and (...) body/prosthesis. (shrink)

What does it mean to say that music perception is nonconceptual? As the passages from Meyer and Budd illustrate, one frequently encounters claims of this kind: it is often suggested that there is a level of perceptual contact with, or understanding or enjoyment of, music—one in which listeners typically engage—that does not require conceptualization. But just what does a claim of this sort amount to, and what arguments may be adduced for it? And is all musical hearing nonconceptual, or are (...) there ways of enjoying fugues and sonatas that do involve conceptualizing cadences and contrapuntal devices? If the latter, how are we to conceive of the relationship between conceptual and nonconceptual ways of hearing? (shrink)

In Interstitial Soundings, Cynthia R. Nielsen brings music and philosophy into a fruitful and mutually illuminating dialogue. Topics discussed include the following: music's dynamic ontology, performers and improvisers as co-composers, the communal character of music, jazz as hybrid and socially constructed, the sociopolitical import of bebop, Afro-modernism and its strategic deployments, jazz and racialized practices, continuities between Michel Foucault's discussion of self-making and creating one's musical voice, Alasdair MacIntyre on practice, and how one might harmonize MacIntyre's notion of virtue development (...) with Foucauldian resistance strategies. (shrink)

Roger Scruton is one of the most relevant conservative philosophers in the British and Burkean tradition of conservatism. Our aim is to present the concept of “culture of repudiation” that is expressed in his work and to assess what are the consequences of that “culture” for Western liberal democracies. According to Scruton, the loss of a national loyalty that sustains democracy and the growing radicalization of Muslim communities in Europe are a by-product of that “culture of repudiation”.

ABSTRACT: Amongst inanimate objects, it is generally accepted that at least some art forms, such as music and painting, are capable of being genuinely expressive of emotion, even though it is difficult to understand exactly how. In contrast, although expressive properties can be attributed to non-artworks, such as natural objects or wine, it has often been claimed that such objects cannot be genuinely expressive. Focussing on wine, I argue that once we understand properly the nature of expressiveness, if we allow (...) that music can be expressive there is no good reason to withold the ability to be genuinely expressive from wine. (shrink)

This article develops a dynamic account of rhythm as ‘order‐in‐movement’ that opposes static accounts of rhythm as abstract time, as essentially a pattern of possibly unstressed sounds and silences. This dynamic account is humanistic: it focuses on music as a humanly‐produced, sonorous phenomenon, privileging the human as opposed to the abstract, or the organic or mechanical. It defends the claim that movement is the most fundamental conceptualization of music—the basic category in terms of which it is experienced—and suggests, against Scruton, (...) that music literally and not merely metaphorically moves. (shrink)

Roger Scruton's 530-page blockbuster The Aesthetics of Music was published by Oxford University Press in 1997. A paperback edition followed two years later. Neither received more than a handful of notices, a few appreciative, but some grudging and some actually hostile. As its quality has come to be recognized, and as the resentments it provoked have either died down or found newer targets, the book has gradually achieved a certain canonical, even classic, status. Students of the subject now seem to (...) feel that, however unpalatable some of its conclusions may have been, it can no longer safely be ignored. The questions, it appears, are the right ones, even if we don't care for Scruton's answers. (shrink)

(No abstract is available for this citation).