Debates in Aesthetics 13 (1) (2017)

Authors
Matteo Ravasio
Peking University
Abstract
In this paper I discuss Stephen Davies’s defence of literalism about emotional descriptions of music. According to literalism, a piece of music literally possesses the expressive properties we attribute to it when we describe it as ‘sad’, ‘happy’, etc. Davies’s literalist strategy exploits the concept of polysemy: the meaning of emotion words in descriptions of expressive music is related to the meaning of those words when used in their primary psychological sense. The relation between the two meanings is identified by Davies in music’s presentation of emotion-characteristics-in-appearance. I will contend that there is a class of polysemous uses of emotion terms in descriptions of music that is not included in Davies’s characterization of the link between emotions in music and emotions as psychological states. I conclude by indicating the consequences of my claim for the phenomenology of expressive music.
Keywords Musical Expressiveness  Polysemy  Metaphor
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References found in this work BETA

The Aesthetics of Music.Roger Scruton - 1997 - Oxford University Press.
Music, Emotion and Metaphor.Nick Zangwill - 2007 - Journal of Aesthetics and Art Criticism 65 (4):391-400.
The Corded Shell: Reflections on Musical Expression.Peter Kivy - 1980 - Philosophy and Rhetoric 17 (1):47-55.
Metaphors and Musical Expressiveness.Saam Trivedi - 2008 - In Kathleen Stock & Katherine Thomson-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 41--57.

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