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Matteo Ravasio
University of Auckland
  1.  9
    On the Destruction of Musical Instruments.Matteo Ravasio - 2016 - Journal of Aesthetics and Culture 8.
    In this article, I aim to provide an account of the peculiar reasons that motivate our negative reaction whenever we see musical instruments being mistreated and destroyed. Stephen Davies has suggested that this happens because we seem to treat musical instruments as we treat human beings, at least in some relevant respects. I argue in favour of a different explanation, one that is based on the nature of music as an art form. The main idea behind my account is that (...)
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  2.  8
    Emotions in the Listener: A Criterion of Artistic Relevance.Matteo Ravasio - 2017 - American Society for Aesthetics Graduate E-Journal 9 (1).
    Philosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless of (...)
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  3.  7
    On Evolutionary Explanations of Musical Expressiveness.Matteo Ravasio - 2018 - Evental Aesthetics 7 (1):6-29.
    In this paper, I will examine an evolutionary hypothesis about musical expressiveness first proposed by Peter Kivy. I will first present the hypothesis and explain why I take it to be different from ordinary evolutionary explanations of musical expressiveness. I will then argue that Kivy’s hypothesis is of crucial importance for most available resemblancebased accounts of musical expressiveness. For this reason, it is particularly important to assess its plausibility. After having reviewed the existing literature on the topic, I will list (...)
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  4.  5
    Philosophy of Music: Analytic Perspectives.Matteo Ravasio - 2018 - Internet Encyclopedia of Philosophy.
    Analytic Perspectives in the Philosophy of Music The philosophy of music attempts to answer questions concerning the nature and value of musical practices. Contemporary analytic philosophy has tackled these issues in its characteristically piecemeal approach, and has revived interest in questions about the ontological nature of musical works, the experience of musical expressiveness, the value … Continue reading Philosophy of Music: Analytic Perspectives →.
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  5.  5
    Stephen Davies on the Issue of Literalism.Matteo Ravasio - 2017 - Debates in Aesthetics 13 (1).
    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 (...)
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  6.  16
    Wollheim, Wittgenstein, and Pictorial Representation. Seeing-as and Seeing-In. [REVIEW]Matteo Ravasio - 2018 - British Journal of Aesthetics 58 (2):209-212.
    Wollheim, Wittgenstein, and Pictorial Representation. Seeing-as and Seeing-in KempGary and MrasGabriel M. Routledge. 2016. pp. 308. £110.00.
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  7.  3
    Reply to Yee.Matteo Ravasio - 2018 - American Society for Aesthetics Graduate E-Journal 10 (1).
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  8.  2
    Food Landscapes: An Object-Centered Model of Food Appreciation.Matteo Ravasio - 2018 - The Monist 101 (3):309-323.
    In this paper I claim that Allen Carlson’s object-centered model for the aesthetic appreciation of nature could be extended to food. The application of an object-centered model to food requires the identification of appropriate foci of appreciative attention. I claim that knowledge about food function and history is relevant to its appreciation, as is the interplay between the resources of a territory and the way in which these are used by its inhabitants. After having offered a brief application of the (...)
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  9.  4
    Imagination, Music, and the Emotions: A Philosophical Study. [REVIEW]Matteo Ravasio - forthcoming - British Journal of Aesthetics:ayy005.
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  10.  7
    Why B-Flat Is Not Natural: Reply to Dyck.Matteo Ravasio - 2017 - Journal of Aesthetics and Art Criticism 75 (2):187-191.
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  11.  1
    Pourquoi la Musique? [REVIEW]Matteo Ravasio - 2016 - Journal of Aesthetics and Art Criticism 74 (1):113-115.
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  12. Appearance Emotionalism in Music: Analysis and Criticism.Matteo Ravasio - forthcoming - Journal of Aesthetic Education.
    This paper is composed of two related parts. The first raises questions regarding the characterisation of the phenomenology of music listening required by Davies’s theory of musical expressiveness, appearance emotionalism. I will identify two possible readings of the theory, a thick and a thin one, and claim that the former represents the basic characterisation of what it is to hear expressive music according to appearance emotionalism. The thick characterisation is to be preferred, I will claim, both on the grounds of (...)
     
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  13. Critique of Pure Music. [REVIEW]Matteo Ravasio - 2015 - American Society for Aesthetics Graduate E-Journal 7 (2).
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  14. Eseguire l’inatteso. Ontologia della musica e improvvisazione. [REVIEW]Matteo Ravasio - 2016 - Aisthema 3 (1):119-125.
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  15.  5
    Espressività: un dibattito contemporaneo.Matteo Ravasio & Marta Benenti - 2017 - Milan: Mimesis.
    Edited book containing Italian translations of essays from prominent contemporary English-speaking philosophers on the topics of expression and expressiveness.
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  16. Replicating Paintings.Matteo Ravasio - 2018 - Contemporary Aesthetics 16.
    In this paper, I discuss cases of replication in the visual arts, with particular focus on paintings. In the first part, I focus on painted copies, that is, manual reproductions of paintings created by artists. Painted copies are sometimes used for the purpose of aesthetic education on the original. I explore the relation between the creation of painted copies and their use as aesthetic surrogates of the original artwork and draw a positive conclusion on the aesthetic benefits of replica production (...)
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  17. What 4’33’’ Also Is: A Response to Dodd.Matteo Ravasio - forthcoming - Australasian Journal of Philosophy.
    Julian Dodd persuasively argues that John Cage’s 4’33’’ should be characterised as (1) a silent piece, as opposed to a sonically replete piece, containing the environmental sounds that occur as it is performed; (2) a piece of performance art, but not a piece of music; (3) a work of conceptual art. While I agree with Dodd’s claims, I contend that he fails to account for two features of 4’33’’. I argue that a qualified description of Cage’s work as belonging to (...)
     
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