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  1.  2
    Theories of Creativity in Music: Students' Theory Appraisal and Argumentation.Erkki Huovinen - 2021 - Frontiers in Psychology 12.
    Most research on people's conceptions regarding creativity has concerned informal beliefs instead of more complex belief systems represented in scholarly theories of creativity. The relevance of general theories of creativity to the creative domain of music may also be unclear because of the mixed responses these theories have received from music researchers. The aim of the present study was to gain a better comparative understanding of theories of creativity as accounts of musical creativity by allowing students to assess them from (...)
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  2.  76
    Methodology in Aesthetics: The Case of Musical Expressivity.Erkki Huovinen & Tobias Pontara - 2011 - Philosophical Studies 155 (1):45 - 64.
    A central method within analytic philosophy has been to construct thought experiments in order to subject philosophical theories to intuitive evaluation. According to a widely held view, philosophical intuitions provide an evidential basis for arguments against such theories, thus rendering the discussion rational. This method has been the predominant way to approach theories formulated as conditional or biconditional statements. In this paper, we examine selected theories of musical expressivity presented in such logical forms, analyzing the possibilities for constructing thought experiments (...)
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  3.  40
    Concatenationism and Anti‐Architectonicism in Musical Understanding.Erkki Huovinen - 2013 - Journal of Aesthetics and Art Criticism 71 (3):247-260.
    This article discusses Jerrold Levinson's theory of concatenationism, which emphasizes the moment-by-moment character of musical listeners’ basic musical understanding, and the related project of anti-architectonicism, which denies the influence of large-scale music-structural information on basic musical understanding. A reconstruction of Levinson's position reveals him to embrace a qualified architectonicism himself and shows that his remaining anti-architectonicism is afflicted with several problems. While the conceptual distinction Levinson draws between a piece of music and its structure as well as his three “intuitions (...)
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  4.  71
    Levels and Kinds of Listeners' Musical Understanding.Erkki Huovinen - 2008 - British Journal of Aesthetics 48 (3):315-337.
    This article examines an account of the listener's musical understanding put forward by Stephen Davies. I begin by discussing Davies's "expressibility requirement", according to which a musical listener should be able to express his understanding in sentences that are truth-apt. This is followed by a reconstruction of Davies's argument for the idea that high levels of musical understanding can be attained without possessing music-theoretical concepts. Such a conclusion is seen to follow from his belief that although musical understandings may be (...)
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  5. Dialogical Anthropology of Art.Erkki Huovinen - 2014 - Culture and Dialogue 2 (1):81-106.
    This essay develops an account of artistic creativity based on Martin Buber’s theory of dialogue. Crucially, Buber distinguishes between the It that is objectified in experience and use and the You whom we meet as a whole person in dialogical relationships. Buber’s emphasis on dialogue as the core of what it means to be human suggests that the human significance of art might also be in its dialogical potential. The problem, however, is that artists, psychologists, critics, and philosophers often treat (...)
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  6.  30
    The Justification of Music-Structural Claims.Erkki Huovinen - 2008 - Philosophy of Music Education Review 16 (1):21-39.
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  7.  18
    Hindrichs, Gunnar. Die Autonomie des Klangs: Eine Philosophie der Musik. Suhrkamp Verlag, 2014, 272 Pp., €17,00 Paper.; Young, James O. Critique of Pure Music. Oxford University Press, 2014, Xi + 199 Pp., $55.00 Cloth. [REVIEW]Erkki Huovinen - 2015 - Journal of Aesthetics and Art Criticism 73 (3):353-358.
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  8.  19
    Musical Understandings and Other Essays on the Philosophy of Music by Davies, Stephen.Erkki Huovinen - 2012 - Journal of Aesthetics and Art Criticism 70 (3):315-317.
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  9.  11
    Imitation, Interaction and Imagery: Learning to Improvise Drawing with Music.Erkki Huovinen & Avigail Manneberg - 2013 - Arts and Humanities in Higher Education 12 (2-3):284-298.
    This article describes a project in which undergraduate students of beginning drawing were brought together with free improvising musicians to explore interaction in collective real-time art-making. Following a series of guided rehearsals, the students were free to choose their own strategies for interactive group projects. We discuss these strategies based on video documentation as well as the students’ written reports and discussion comments. Overall, the students gradually shifted the emphasis of their work from temporally differentiated, imitative parallelisms between drawing and (...)
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