Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley's arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none (...) of this implies that these debates themselves are without value. (shrink)

A review of Stephen Davies's book, Musical Works and Performances.

Subject and purpose: Using annual data for the periods 2009–2019, this paper examines trade flows between China and the Visegrad Group countries. The aim of this article is to assess real changes taking place in international trade in the Visegrad Group countries over the last eleven years. The starting point for the analysis was 2009 – the time after the 2008 economic crisis, and it was compared especially to 2018 – a year marked by a significant improvement in the economy. (...) The purpose is to discuss concerns related to the differences in bilateral trade between China and Poland, Czech Republic, Hungary, and Slovak Republic. The main aim of this research is to distinguish the characteristics of bilateral trade by products between V4 and China in years 2009–2019. The purpose of this article is also to systematize and discuss points of view, rationalizing further empirical research. Two research hypotheses, resulting from the research purpose, were formulated: H1: in the V4 countries import exceeds export, and this trend seems to be growing, H2: Chinese goods imported to the V4 are much more sophisticated than those exported. Design/methodology/approach: To assess the initial and current situation on international trade between the V4 and China, the author uses variables obtained from WTO and OEC resources, diagnosing the situation in Poland, Czech Republic, Hungary, and Slovak Republic. The collected empirical data were processed using theoretical methods such as analysis, synthesis, and comparison to formulate conclusions using deductive and inductive inference methods. Practical Implications: The results can be used in scientific and expert work on diagnostic and forecast trends in bilateral trade by products between the V4 and China. Originality/value: It concerns the indication of the importance of the V4 trade with China compared to the share of the V4 countries in world trade. It was also possible to identify the top export and import products of the V4. The findings also confirm the significant change in China’s trading structure. (shrink)

In this critical study of Julian Dodd’s Being True to Works of Music, I argue that the three-tier normative profile of the work-performance tradition in classical music that Dodd defends should be rejected in favour of a two-tier version. I also argue that the theory of work-performance defended in the book fits much more naturally with a contextualist ontology of musical works than with the Platonist ontology Dodd defends in Works of Music, despite his arguments to the contrary in the (...) afterword of the new book. Finally, I argue that the reasons he gives for preferring a ‘tradition-based’ over a ‘historicized’ theory of the understanding of classical scores are not convincing. (shrink)

I argue that even if video games are interactive artworks, typical video games are not works for performance and players of video games do not perform these games in the sense in which a musician performs a musical composition (or actors a play, dancers a ballet, and so on). Even expert playings of video games for an audience fail to qualify as performances of those works. Some exemplary playings may qualify as independent “performance-works,” but this tells us nothing about the (...) ontology of video games or playings of them. The argument proceeds by clarifying the concepts of interactivity and work-performance, drawing particularly on recent work by Dominic Lopes, Berys Gaut, and David Davies. (shrink)

A review of David Davies, _Art as Performance_ (Blackwell, 2004).

This is the first comprehensive book-length introduction to the philosophy of Western music that fully integrates consideration of popular music and hybrid musical forms, especially song. Its author, Andrew Kania, begins by asking whether Bob Dylan should even have been eligible for the Nobel Prize in Literature, given that he is a musician. This motivates a discussion of music as an artistic medium, and what philosophy has to contribute to our thinking about music. Chapters 2-5 investigate the most commonly (...) defended sources of musical value: its emotional power, its form, and specifically musical features (such as pitch, rhythm, and harmony). In chapters 6-9, Kania explores issues arising from different musical practices, particularly work-performance (with a focus on classical music), improvisation (with a focus on jazz), and recording (with a focus on rock and pop). Chapter 10 examines the intersection of music and morality. The book ends with a consideration of what, ultimately, music is. (shrink)

An overview of attempts to define music in the Western philosophical tradition.

This paper approaches the spectrum of theater studies in Indonesia in an interdisciplinary manner, encompassing both descriptive and normative perspectives. From a descriptive standpoint, the spectrum is shaped by various ways of attributing meaning to theater as an entity. In a normative approach, various disciplines offer perspectives that contribute to creating a spectrum of meaning for theater in relation to the life of Indonesian society. Through a literature review, the research identifies at least three approaches to constructing theater studies in (...) Indonesia: synchronic, diachronic and, combined. These three approaches are drawn from disciplines outside of theater, such as historical, anthropological, and sociological studies. Based on this perspectives, theater studies in Indonesia has moved from viewing theater in its meaning as a form of sacred ritual in the past to theater as symbolic capital today. These interdisciplinary perspective has an influence on the meaning of theater in theater studies itself as a discipline. Theater in Indonesia as a subject of study, therefore, is not only understood as an art that originates from dramatic works, but is more broadly understood as all forms of art that are centered on human action displayed in live performances, including sacred rituals, cultural performances, and theatrical protests. (shrink)

_The Routledge Companion to Philosophy and Music_ is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Over fifty entries by an international team of contributors are organised into six clear sections: general issues emotion history figures kinds of music music, philosophy and related disciplines _The Routledge Companion to Philosophy and Music_ is essential reading for anyone interested in philosophy, music and musicology.

I discuss a recent notable attempt to sharply distinguish pornography from erotic art, and argue that the attempt fails. I then turn to methodological questions about how we ought to go about defining ‘pornography’, questions which lead quickly to others about why we want such a definition. I believe that philosophers of art can make important contributions to this definitional project, but only if their contributions are informed by recent work in feminism, philosophical analysis, and art history.

This conversation between Zygmunt Bauman and Aleksandra Kania picks up on the themes of crisis, interregnum and the decline of the West. Decline of the West is first of all decline of western civilization. This easily leads to panic about the end of the world; what it really indicates is the limits and constraints of a world system based on nation-states. Spengler and Elias are introduced as interlocutors, in order to open these issues, and those of capitalism, socialism and (...) caesarism. Trump here appears as a wilfully decisionist leader. Populism plays its part, but illiberalism now overpowers neoliberalism. Bauman and Kania engage in this text as interlocutors; this is a record of their own dialogue, and a reminder of its possibilities. (shrink)

Science is widely regarded as the most reliable epistemic source of providing knowledge about the world. Policymakers intend to make purposeful changes in the world. The practice of policymakers relying on scientific experts to make informed decisions about which policies to implement is called Evidence Based Policymaking. This thesis provides a perspective from the philosophy of science in order to discuss the justifiability of Evidence Based Policymaking (EBP) with respect to broadly democratic and liberal values. Justifying EBP with broadly democratic (...) and liberal values entails that the practices of EBP promote, or at least are in harmony with, values such as democratic governance and enhancement of people’s freedom and autonomy. Identifying the conditions under which practices of EBP meet such desiderata minimally requires an understanding of how sciences and scientific experts are instrumental in realizing the public’s values, needs, interests, and pursuit of freedom. In order to approach this project, the thesis adopts a philosophical perspective to conceptualize how sciences are supposed to be guided by or promote society’s values, needs, and interests. Specifically, it adopts a perspective from the philosophy of science that focuses on the relationship between science and (societal) values. The kind of philosophy of science perspective on “values in science” that this thesis adopts has two overarching pursuits relevant for the project of the thesis. Firstly, it seeks to inform the debates about which values and non-epistemic considerations are supposed to inform scientific research. For instance, it discusses the proper sources/owners of the non-epistemic desiderata that inform scientific research and the proper social mechanisms to identify these non-epistemic desiderata (e.g. Kourany, 2010; Kitcher, 2011). Second, it offers theories of the non-epistemic values’ proper roles in scientific reasoning and research that specify how their involvement in science does not unduly compromise the epistemic pursuits of science. The values-in-science perspective thereby seeks to balance the instrumental value of science (i.e., its use to pursue certain societal projects and values) with its epistemic authority (i.e., its objectivity, non-dogmatism, and reliability). The thesis advances an understanding of EBP from the perspective of the values in science by addressing issues that come to the fore when EBP is acknowledged as a value-laden practice of informed decision-making. (shrink)

Philosophical reflections on the trope of the femme fatale in the films of Christopher Nolan.

I argue that if we want to condemn sexual relationships between professors and students we must also condemn friendships between them. On the other hand, if we want to allow such friendships, we must condone (some) professor-student sexual relationships. My main reasons for this conclusion are, first, that the differences between close friendships and sexual relationships are more subtle than most people think — there is no clear boundary between the two — and, second, anything that would concern us about (...) the latter should concern us about the former. I will argue, further, that though there may be reasons to avoid such relationships, there is nothing about the student-professor relationship in particular that should lead us to condemn all such relationships. (shrink)

An overview of analytic philosophy of music.

I investigate the widely held view that fundamental musical ontology should be descriptivist rather than revisionary, that is, that it should describe how we think about musical works, rather than how they are independently of our thought about them. I argue that if we take descriptivism seriously then, first, we should be sceptical of art-ontological arguments that appeal to independent metaphysical respectability; and, second, we should give ‘fictionalism’ about musical works—the theory that they do not exist—more serious consideration than it (...) is usually accorded. CiteULike Connotea Del.icio.us What's this? (shrink)

I argue for an ontology of jazz according to which it is a tradition of musical performances but no works of art. I proceed by rejecting three alternative proposals: (i) that jazz is a work performance tradition, (ii) that jazz performances are works of art in themselves, and (iii) that jazz recordings are works of art. I also note that the concept of a work of art involved (1) is nonevaluative, so to deny jazz works of art is not to (...) judge it inferior to artistic traditions with works, and (2) is univocal across other musical traditions, so to claim there are works of art in jazz would be to use a different sense of the term than we use when, say, discussing classical music. (shrink)

I argue that the work of art in rock music is a track constructed in the studio, that tracks usually manifest songs, which can be performed live, and that a cover version is a track (successfully) intended to manifest the same song as some other track. This ontology reflects the way informed audiences talk about rock. It recognizes not only the centrality of recorded tracks to the tradition, as discussed by Theodore Gracyk, but also the value accorded to live performance (...) skills, emphasized by Stephen Davies. (shrink)

This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

In this paper I argue against the theory--popular among theorists of narrative artworks--that we must posit a fictional narrative agent in every narrative artwork in order to explain our imaginative engagement with such works. I accept that every narrative must have a narrator, but I argue that in some central literary cases the narrator is not a fictional agent, but rather the actual author of the work. My criticisms focus on the strongest argument for the ubiquity of fictional narrators, Jerrold (...) Levinson's ontological-gap argument. Finally, I outline an alternative "minimal theory" of narrators, and some consequences thereof. (shrink)

I examine how Heather Douglas’ account of values in science applies to the assessment of actual cases of scientific practice. I focus on the case of applied toxicologists’ acceptance of molecular evidence-gathering methods and evidential sources. I demonstrate that a set of social and institutional processes plays a philosophically significant role in changing toxicologists’ inductive risk judgments about different kinds of evidence. I suggest that Douglas’ inductive risk framework can be integrated with a suitable account of evidence, such as Helen (...) Longino’s contextual empiricism, to address the role of social context in the cases like the one examined here. I introduce such an integrated account and show how Longino’s contextual empiricism and inductive risk framework fruitfully complement each other in analyzing the novel aspects of the toxicology case. (shrink)

In this essay I first outline contemporary Platonism about musical works – the theory that musical works are abstract objects. I then consider reasons to be suspicious of such a view, motivating a consideration of nominalist theories of musical works. I argue for two conclusions: first, that there are no compelling reasons to be a nominalist about musical works in particular, i.e. that nominalism about musical works rests on arguments for thoroughgoing nominalism, and, second, that if Platonism fails, fictionalism about (...) musical works is to be preferred to other nominalist ontologies of musical works. (shrink)

Filistin asıllı Subhî Fahmâvî, romanlarında farklı konuları özgün bir üslûpla ele almaktadır. Ana konu içerisinde ilgili birçok meseleyi iç içe halkalar şeklinde bir anlatım yumağı oluşturarak ele alan Fahmâvî, okuyucuyu adeta diyardan diyara bir gezintiye çıkarmaktadır. Bu anlatım üslûbunun en önemli öğelerinden biri mitolojik ve tarihi şahsiyetlerdir. Genel olarak Ortadoğu özel olarak Ken‘ânî mitosundaki efsanevi şahsiyetler değişik vesilelerle romanlarda sık sık anılmaktadır. Yazara ait Kıssatu ‘işki Ken‘âniyye adlı roman, mitolojinin yoğun işlendiği bir romandır. İl, Ba‘l, İştar, Mot gibi mitoslar olay (...) örgüsünün önemli bir kısmını oluşturmaktadırlar. Bununla birlikte Fahmâvî, roman anlatısında tarihte olumlu veya olumsuz bir şekilde nam salmış birçok şahsiyetten de bahsetmektedir. İster mitolojik olsun ister tarihi ve gerçek şahsiyet olsun, seçilen isimler rastgele seçilmemişlerdir. Bu şahısların her biri romanda anlatılan konunun daha iyi anlaşılması için anlatımın önemli bir yönünü oluştururken okuyucu da söz konusu şahıs hakkında bilgi sahibi olmaktadır. Bu makalede çağdaş Ürdün roman yazarlarından Subhî Fahmâvî’ye ait romanlarda ismi geçen mitolojik ve tarihî şahsiyetler tespit edilmeye çalışılacaktır. Tespit edilen bu şahsiyetlerin, hangi yönleri ile meşhur oldukları ortaya konulduktan sonra roman kurgusu içerisinde öne çıkarıldıkları tarafları incelenecektir. Ayrıca bağlam açısından bu şahısların tercih edilme sebepleri de irdelenecektir. (shrink)

Facial emotion recognition (FER) deficits interfere with interpretation of social situations and selection of appropriate responses. Attention-Deficit/Hyperactivity Disorder (ADHD) symptoms are independently associated with social difficulties and might exacerbate the influence of deficient FER, because children with ADHD symptoms have fewer compensatory resources in social situations when they misinterpret emotions. Very few studies have tested this hypothesis in a community context, where child ADHD symptoms vary on a continuum. The current study extended this work by utilising a community sample (N (...) = 87) of boys and girls in middle childhood (M = 7.83 years) and testing for moderation of FER effects separately by ADHD symptom type (ADHD-I = inattentive, H = hyperactive/impulsive, C = combined) using linear regression. While lower FER was associated with more social problems, this relationship was qualified by the presence of ADHD symptoms. Specifically, only children with relatively high ADHD symptoms in our community sample showed this inverse relationship, which was clearest among children with elevated ADHD-C or ADHD-I symptoms. No gender differences were observed. These results support our primary hypothesis, extend prior findings to boys and girls in the community, and have implications for understanding how ADHD symptoms and FER influence youth social deficits. (shrink)

In this essay, I investigate musical silence. I first discuss how to integrate the concept of silence into a general theory or definition of music. I then consider the possibility of an entirely silent musical piece. I begin with John Cage’s 4′33″, since it is the most notorious candidate for a silent piece of music, even though it is not, in fact, silent. I conclude that it is not music either, but I argue that it is a piece of non-musical (...) sound art, rather than simply a piece of theatre, as Stephen Davies has argued. I end with consideration of several other candidates for entirely silent pieces, concluding that two of these are in fact pieces of music consisting entirely of silence. (shrink)

The experience of notes as higher or lower than one another, and of movement within passages of music, underpins many other musical experiences. Several theories of such an experience have been defended, claiming that concepts of space and movement variously play some sort of metaphorical role in our experience, can be eliminated from musical discourse, or apply literally to the music. I argue that all such theories should be rejected in favour of the view that our experience of musical space (...) and movement is imaginative, in much the same way our experience of fiction is widely believed to be. (shrink)

Nemesio G. C. Puy argues that the "nested types" ontology of works of Western classical music can solve recent disagreements about such works' authentic performance. I raise several objections to his argument.

An introduction to the project of defining music, which considers extant definitions and suggests a new definition.

This paper offers a memoir of living with Zygmunt Bauman. It begins with the early encounter of Bauman and Aleksandra Kania in Warsaw in 1954, where both were Masters students working with the humanist Marxist Adam Schaff. Kania and Bauman followed their separate life paths for decades, though they were both postwar communists and reconstructionists. Much later, the loss of their partners led to union, in Leeds and across the globe in travel. This is a story of friendship (...) and mutual enthusiasms, then intimacy between two working sociologists. There are also some apparent differences, as between the Lark and the Owl, or between Phosphorous and Hesperus. Life together leads especially to Italy, and to Pope Francis. This is a reflection on what Bauman called the art of life. (shrink)

An overview of current issues in musical ontology, including debates about "fundamental" vs. "higher-order" musical ontology and skepticism about both kinds.

Aaron Ridley has recently attacked the study of musical ontology—an apparently fertile area in the philosophy of music. I argue here that Ridley's arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none (...) of this implies that these debates themselves are without value. (shrink)

This article analyzes the Arabisms and other lexical devices that are used to characterize the Native American in the Relación de la jornada de Cíbola by Pedro de Castañeda, a text that deals with the expedition that Francisco Vázquez de Coronado led to the present-day Southwestern United States from 1540 to 1542. After a general presentation of the text, the work focuses on the analysis of seven Arabisms along with other words, including nicknames, to disentangle the meanings and sociolinguistic implications (...) of the use of these words to refer to the American reality. In order to do so, great use is made of information garnered from documentary and lexical sources. We depart from the premise that in the conquest and colonization of New Spain, the models from the previous conquests of Granada and North Africa are followed. And through this perspective of continuity, we identify parallel political measures, identical discursive traditions, as well as a shared attitude and linguistic awareness. From a lexical point of view, this attempt to explain the New World is transmitted by various processes, including the use of lexical Arabisms to plastically illustrate an unknown and pagan culture through codes that are familiar, and equally pagan, to the reader. This contribution helps to expand our understanding about the presence of Arabisms in the history of the Spanish language. (shrink)

An overview of the philosophical questions raised by musical performances and recordings.

In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.

An overview of philosophical issues raised by musical performances and recordings.

Gregory Currie, arguing against recent psychoanalytic and semiotic film theory, has defended various realist theses about film. The strongest of these is that ‘weak illusionism’—the view that the motion of film images is an illusion—is false. That is, Currie believes film images really do move. In this paper I defend the common-sense position of weak illusionism, firstly by showing that Currie underestimates the power of some arguments for it, especially one based on the mechanics of projection, and secondly by showing (...) that film images exhibit neither garden-variety motion, nor a special response-dependent kind. (shrink)

ABSTRACTThis study is situated within corpus-assisted discourse analysis. Corpora and discourse studies: Integrating discourse and corpora. London: Palgrave Macmillan.) and provides a critical discussion of key topics and stances in the marriage equality debate in Germany. The ways in which the German print media covered the debate are explored through two corpora which include relevant texts from three German newspapers and two magazines from two key periods ; in 2001, Germany introduced ‘civil unions’ but it was only in 2017 that (...) marriage was opened to same-sex couples. Qualitative and quantitative analyses using AntConc and ProtAnt suggest that while there are parallels to marriage equality debates in other countries, there are also language-/culture-specific features. For example, there is a stronger focus on children’s welfare in the contemporary data, since marriage equality meant joint adoption rights for same-sex couples. Through an exploration of keywords/collocations and close reading of prototypical texts, it is shown how linguistic choices contribute to framing the arguments for/against marriage equality and how these stances are connected to culture-specific and cross-cultural norms. (shrink)