So begins "For Anne Gregory," published by W. B. Yeats in 1933. It is surely one of his most charming poems.1 The poem's lilting rhythm and affectionate tone effectively soften—even disguise—what is arguably a dark and dismaying message. Anne is destined to be loved not for herself alone, but for an accidental physical attribute—her blond hair. Why do I claim that the poem's message is dark? Why should it dismay Anne if she is loved for the beauty of her hair? (...) Is that not better, after all, than not being loved in the first place? And what would it be to love Anne for herself "alone"? Love Anne for her sweet disposition; for her ability always to say the right thing; for her kindness; but for her yellow hair? .. (shrink)
If philosophers held popularity contests, David Hume would be a perennial winner. Witty, a bon vivant, and champion of reason over bigotry and superstition, it is not surprising that many contemporary thinkers want to recruit him as an ally or claim his views as precursors to their own. In the debate over the moral content of artworks and its possible relevance for artistic and aesthetic value, the group whose views are known variously as “ethicism,” “moralism,” or “moderate moralism” has claimed (...) Hume as one of its own.1 Very briefly, “moderate moralism” is the view that sometimes the moral content of artworks must be taken into account when assessing artistic or aesthetic value. The moralists’ presumed . (shrink)
In Philosophy of Song and Singing: An Introduction , Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated (...) solo performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available. (shrink)
In _Philosophy of Song and Singing: An Introduction_, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated solo (...) performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available. (shrink)
An adequate account of musical understanding must be sufficiently detailed and nuanced so as to be able to make sense of the experience of listeners with diverse musical and cultural backgrounds. It should also help us begin to understand the wide variety of responses to music, including the responses of those who hear music as having semantic content. I approach these issues in the more general philosophical context of aesthetic understanding. As an approach to my own position, I examine the (...) accounts of aesthetic understanding offered by Nelson Goodman, Roger Scruton, and Peter Kivy. Because each can be seen as broadly within the Kantian tradition, I also undertake an examination of Kant's aesthetics. ;My account of what it is to understand music and of how this understanding is achieved draws upon a phenomenological analysis of listening. I argue that a continuum of two levels of understanding music can be distinguished. At the lowest level, "recognitional understanding," the listener can hear a series of tones as a rhythmic and melodic gestalt, and understand a minimum of expressive and gestural characteristics. The second level, "enhanced understanding," requires greater sensitivity to the music's expressive character, being able to place the music in an appropriate historical context, and some awareness of musical form. Beyond these two levels but presupposing them is a third, which I call "interpretive understanding." Listening to music, we sometimes get the sense that the music is "profound" or has something to say, if only we could grasp it. ;For musical understanding of any sort, involvement with the music is crucial. I develop an account of involvement with music which stresses the similarities between following a musical performance and following or constructing a narrative. I conclude by suggesting the ways in which my account of musical understanding captures some of the strengths of the accounts already discussed , and consider some objections which might be made against it. (shrink)
The tears of Odysseus -- History : music gives voice to the ineffable -- Tears, chills, and broken bones -- The music itself -- Explaining strong emotional responses to music I -- Explaining strong emotional responses to music II -- The sublime, revisited -- Conclusion : values.
