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  1.  31
    Opera and the Limits of Philosophy: On Bernard Williams's Music Criticism: Articles.Guy Dammann - 2010 - British Journal of Aesthetics 50 (4):469-479.
    This paper provides a reading of the opera criticism of Bernard Williams in the light of his philosophical writings. Beginning with the observations that his philosophical writing lacks engagement with musical and aesthetic issues, and his operatic writing appears to present no particular philosophy of the subject, I try to draw together certain themes by mapping Williams's operatic concerns onto his philosophical project more generally. I argue that the 'excessive' nature of the artform—the idea that opera tends to exceed its (...)
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  2.  70
    The Idea of Form: Rethinking Kant’s Aesthetics.Guy Dammann - 2004 - British Journal of Aesthetics 44 (3):313-315.
  3.  57
    What Do We Understand In Musical Experience?Guy Dammann - 2005 - Postgraduate Journal of Aesthetics 2 (2):70-75.
    Of the many difficult questions that populate the rather treacherous terrain of the philosophy of music, the one that perplexes and interests me the most often crops up in various guises in the myriad books of‘ Quotations for music lovers’ and such like. The following version may be said to capture its fundamental idea. Given that music doesn’t seem in any obvious sense to be about anything precisely, why do we seem to think that it conveys so much so strongly?
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