Midwest Studies in Philosophy 27 (1):69–87 (2003)

Authors
Diana Raffman
University of Toronto, Mississauga
Abstract
Worries about the artistic integrity (for lack of a better term) of twelve-tone music are not new. Critics, philosophers, musicians, even composers them- selves have assailed the idiom with a fervor usually reserved for individual artists or works. Just why it is supposed to be defective is not entirely clear, however. I want to revisit these questions by way of putting some insights from music history and theory together with some insights from the philosophy and psychology of music. To find out whether twelve-tone composition is defective we will need to reflect carefully upon our concepts of music and art in general, so if all goes well our conclusions should have some broader import. Because I will be pulling together considerations from several domains, I will need to lay a fair amount of groundwork at the beginning; but once that is done, we will have a vantage on the present issues that would not otherwise be open to us.
Keywords Analytic Philosophy  Contemporary Philosophy
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DOI 10.1111/1475-4975.00073
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References found in this work BETA

Categories of Art.Kendall L. Walton - 1970 - Philosophical Review 79 (3):334-367.
The Principles of Art.R. G. Collingwood - 1938 - New York: Oxford University Press.
The Aesthetics of Music.Roger Scruton - 1997 - Oxford University Press.

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Citations of this work BETA

Play, Skill, and the Origins of Perceptual Art.Mohan Matthen - 2015 - British Journal of Aesthetics 55 (2):173-197.
Unruly Tones: A Reply to Ravasio.John Dyck - 2017 - Journal of Aesthetics and Art Criticism 75 (2):191-194.
Against Nature? Or, Confessions of a Darwinian Modernist.Murray Smith - 2014 - Royal Institute of Philosophy Supplement 75:151-182.

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