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Peter Kivy [131]Peter Nathan Kivy [1]
  1. Introduction to a Philosophy of Music.Peter Kivy - 2002 - Clarendon Press.
    Philosophy of music has flourished in the last thirty years, with great advances made in the understanding of the nature of music and its aesthetics. Peter Kivy has been at the center of this flourishing, and now offers his personal introduction to philosophy of music, a clear and lively explanation of how he sees the most important and interesting philosophical issues relating to music. Anyone interested in music will find this a stimulating introduction to some fascinating questions and ideas.
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  2. Music Alone: Philosophical Reflections on the Purely Musical Experience.Peter Kivy - 1990 - Cornell University Press.
    In the Essai sur Vorigine des langues (), Jean-Jacques Rousseau reports on an eighteenth-century curiosity that has, from time to time, fascinated musicians ...
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  3.  89
    Authenticities: Philosophical Reflections on Musical Performance.Peter Kivy - 1995 - Cornell University Press.
    "In his latest book on the aesthetics of music, Peter Kivy presents an argument not for authenticity but for authenticities of performance, including ...
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  4. Platonism in Music: A Kind of Defense.Peter Kivy - 1983 - Grazer Philosophische Studien 19 (1):109-129.
    Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: (1) that musical works possess perceptual properties and universals do not; (2) that musical works are created and universals cannot be; (3) that universals cannot be destroyed and musical works can; (4) that parts of tokens of the same (...)
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  5. Sound Sentiment: An Essay on the Musical Emotions, Including the Complete Text of the Corded Shell.Peter Kivy - 1989 - Temple University Press.
    Incorporating the complete, corrected text of The Corded Shell, Kivy brings his earlier arguments up to date in light of recent work in the field, and discusses ...
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  6.  67
    Platonism in Music: A Kind of Defense.Peter Kivy - 1983 - Grazer Philosophische Studien 19 (1):109-129.
    Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: that musical works possess perceptual properties and universals do not; that musical works are created and universals cannot be; that universals cannot be destroyed and musical works can; that parts of tokens of the same type can be interchanged (...)
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  7.  73
    The Fine Art of Repetition: Essays in the Philosophy of Music.Peter Kivy - 1993 - Cambridge University Press.
    Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...)
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  8. Platonism in Music: Another Kind of Defense.Peter Kivy - 1987 - American Philosophical Quarterly 24 (3):245 - 252.
  9.  16
    The Performance of Reading: An Essay in the Philosophy of Literature.Peter Kivy - 2006 - Wiley-Blackwell.
    _The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.
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  10.  4
    The Performance of Reading: An Essay in the Philosophy of Literature.Peter Kivy - 2006 - Wiley-Blackwell.
    _The Performance of Reading_ argues that there are distinct analogies between "silent" reading and artistic performance, and so fashions the new role of the reader as performer. An original and insightful exploration of the act of reading by the leading scholar in the field. Discusses the history of reading and the transitions from reading aloud to reading silently, and the changing role of literature as communal, active experience to a more private endeavor.
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  11.  10
    Kant and the Claims of Taste.Peter Kivy - 1979 - Ethics 91 (2):317-320.
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  12.  91
    Philosophies of Arts: An Essay in Differences.Peter Kivy - 1997 - Cambridge, England: Cambridge University Press.
    Since the beginning of the eighteenth century the philosophy of art has been engaged on the project of trying to find out what the fine arts have in common and, thus, how they might be defined. Peter Kivy's purpose in this accessible and lucid book is to trace the history of that enterprise and argue that the definitional project has been unsuccessful. He offers a fruitful change of strategy: instead of engaging in an obsessive quest for sameness, let us explore (...)
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  13.  7
    De Gustibus: Arguing About Taste and Why We Do It.Peter Kivy - 2015 - Oxford University Press UK.
    In De Gustibus Peter Kivy deals with a question that has never been fully addressed by philosophers of art: why do we argue about art? We argue about the 'facts' of the world either to influence people's behaviour or simply to get them to see what we take to be the truth about the world. We argue over ethical matters, if we are ethical 'realists,' because we think we are arguing about 'facts' in the world. And we argue about ethics, (...)
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  14.  14
    Music and the Emotions: The Philosophical Theories.Peter Kivy - 1986 - Philosophical Quarterly 36 (144):434-438.
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  15.  40
    Science and Aesthetic Appreciation.Peter Kivy - 1991 - Midwest Studies in Philosophy 16 (1):180-195.
  16. Feeling the Musical Emotions.Peter Kivy - 1999 - British Journal of Aesthetics 39 (1):1-13.
  17.  17
    Antithetical Arts: On the Ancient Quarrel Between Literature and Music.Peter Kivy - 2009 - Oxford University Press.
    Peter Kivy presents a fascinating critical examination of the two rival ways of understanding instrumental music. He argues against 'literary' interpretation in terms of representational or narrative content, and defends musical formalism. Along the way he discusses interpretations of a range of works in the canon of absolute music.
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  18.  21
    Sounding Off: Eleven Essays in the Philosophy of Music.Peter Kivy - 2012 - Oxford University Press.
    Mozart's skull -- The case of the purloined partitur -- A tale of two authenticities -- Ancient authenticities -- Operatic authenticity -- Messiah's message -- Is nothing sacred? -- Sound in sound -- Music, science, and semantics -- Authorial intention and the pure musical parameters -- Leonard Meyer's sonata.
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  19.  63
    The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics.Peter Kivy - 2003 - Oxford University Press.
    Now reissued with substantial new material, The Seventh Sense is the definitive study of the aesthetic theory of the great eighteenth-century philosopher Frances Hutcheson, and its huge influence on British aesthetics. Peter Kivy's book is a seminal work on early modern aesthetics, and has been much in demand since going out of print some years ago; this new edition brings the book up to date with the addition of eight essays that Kivy has written on the subject since 1976.
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  20.  7
    Antithetical Arts: On the Ancient Quarrel Between Literature and Music.Peter Kivy - 2009 - Journal of Aesthetics and Art Criticism 67 (4):435-438.
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  21.  7
    Speaking of Art.Peter Kivy - 1973 - The Hague: M. Nijhoff.
    As the title of this book was meant to suggest, its subject is the way we talk about (and write about) works of art: or, rather, one of the ways, namely, the way we describe works of art for critical purposes. Be cause I wished to restrict my subject matter in this way, I have made a sharp, and no doubt largely artificial distinction between describing and evaluating. And I must, at the outset, guard against a misreading of this distinction (...)
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  22.  50
    Mood and Music: Some Reflections for Noël Carroll.Peter Kivy - 2006 - Journal of Aesthetics and Art Criticism 64 (2):271–281.
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  23. Hume's Standard of Taste: Breaking the Circle.Peter Kivy - 1967 - British Journal of Aesthetics 7 (1):57-66.
  24.  81
    New Essays on Musical Understanding.Peter Kivy - 2001 - Clarendon Press.
    Peter Kivy presents a selection of his new and recent writings on the philosophy of music--an area to which he has been one of the most eminent contributors. In his distinctively elegant and informal style, Kivy explores such topics as musicology and its history, the nature of musical works, and the role of emotion in music, and does so in a way that will attract the interest of philosophical and musical readers alike. Most works are published here for the first (...)
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  25.  28
    Paraphrasing Poetry (for Profit and Pleasure).Peter Kivy - 2011 - Journal of Aesthetics and Art Criticism 69 (4):367-377.
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  26.  54
    Critical Study: Deeper Than Emotion.Peter Kivy - 2006 - British Journal of Aesthetics 46 (3):287-311.
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  27.  8
    The Worlds of Art and the World.Peter Kivy - 1983 - Grazer Philosophische Studien 19:109-129.
    Various criticisms have been brought against a Platonistic construal of the musical work: that is, against the view that the musical work is a universal or kind or type, of which the performances are instances or tokens. Some of these criticisms are: that musical works possess perceptual properties and universals do not; that musical works are created and universals cannot be; that universals cannot be destroyed and musical works can; that parts of tokens of the same type can be interchanged (...)
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  28.  73
    Jokes Are a Laughing Matter.Peter Kivy - 2003 - Journal of Aesthetics and Art Criticism 61 (1):5-15.
  29.  58
    A Failure of Aesthetic Emotivism.Peter Kivy - 1980 - Philosophical Studies 38 (4):351 - 365.
  30. What Makes "Aesthetic" Terms Aesthetic?Peter Kivy - 1975 - Philosophy and Phenomenological Research 36 (2):197-211.
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  31.  44
    The Blackwell Guide to Aesthetics.Peter Kivy (ed.) - 2004 - Wiley-Blackwell.
    _The Blackwell Guide to Aesthetics_ is the most authoritative survey of the central issues in contemporary aesthetics available. The volume features eighteen newly commissioned papers on the evaluation of art, the interpretation of art, and many other forms of art such as literature, movies, and music. Provides a guide to the central traditional and cutting edge issues in aesthetics today. Written by a distinguished cast of contributors, including Peter Kivy, George Dickie, Noël Carroll, Paul Guyer, Ted Cohen, Marcia Eaton, Joseph (...)
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  32.  61
    Another Go at Musical Profundity: Stephen Davies and the Game of Chess.Peter Kivy - 2003 - British Journal of Aesthetics 43 (4):401-411.
    I have argued previously that the art of absolute music, unlike, for example, the art of literature, is not capable of profundity, which I characterized as treating a profound subject matter, at the highest artistic level, in a manner appropriate to its profundity. Stephen Davies has recently argued that there is another way of being profound, which he calls non-propositional profundity, and for which chess provides his principal example. He argues, further, that absolute music also exhibits this non-propositional profundity. I (...)
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  33.  47
    On the Historically Informed Performance.Peter Kivy - 2002 - British Journal of Aesthetics 42 (2):128-144.
    After the publication of my book Authenticities in 1995 I began toreceive criticisms of it based on the growing currency of the phrase ‘the historically informed performance’, which was supposed to be describing a kind of musical performance that differed significantly from the kind that had been known previously as the ‘historically authentic performance’ and which had been the object of my critique in the book. The argument was that the historically informed performance was different enough from the historically authentic (...)
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  34.  8
    The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius.Peter Kivy - 2003 - Journal of Aesthetics and Art Criticism 61 (1):73-74.
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  35.  51
    Hume's Neighbour's Wife: An Essay on the Evolution of Hume's Aesthetics.Peter Kivy - 1983 - British Journal of Aesthetics 23 (3):195-208.
  36. Aesthetic Aspects and Aesthetic Qualities.Peter Kivy - 1968 - Journal of Philosophy 65 (4):85-93.
  37.  86
    Music, Language, and Cognition: And Other Essays in the Aesthetics of Music.Peter Kivy - 2007 - Oxford University Press.
    I. History. Mainwaring's Handel : its relation to British aesthetics -- Herbert Spencer and a musical dispute -- II. Opera and film. Handel's operas : the form of feeling and the problem of appreciation -- Anti-semitism in Meistersinger? -- Speech, song, and the transparency of medium : on operatic metaphysics -- III. Performance. On the historically informed performance -- Ars perfecta : toward perfection in musical performance? -- IV. Interpretation. Another go at the meaning of music : Koopman, Davies, and (...)
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  38.  65
    Thomas Reid and the Expression Theory of Art.Peter Kivy - 1978 - The Monist 61 (2):167-183.
    I mean by "the expression theory of art" the theory which holds that the expression of emotion is the essential property of art. I mean by "a theory of artistic expression" any theory which gives an account of how works of art express emotions. My argument is that thomas reid, In contrast to his contemporaries and immediate predecessors, Came very close to holding not merely a theory of artistic expression but the expression theory of art.
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  39.  26
    Moodophilia: A Response to Noël Carroll and Margaret Moore.peter kivy - 2007 - Journal of Aesthetics and Art Criticism 65 (3):323–329.
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  40. The Experience of Reading.Peter Kivy - 2010 - In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell.
     
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  41.  42
    Musical morality.Peter Kivy - 2009 - Revue Internationale de Philosophie 250 (4):397-412.
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  42.  7
    Art Rethought: The Social Practices of Art By Nicholas Wolterstorff Oxford: Oxford University Press, 2015. Pp. Xvi + 331. H/B £27 ISBN: 978-0198747758. [REVIEW]Peter Kivy - 2016 - Philosophy 91 (4):591-599.
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  43.  10
    An Inquiry Concerning Beauty, Order, Harmony, Design.Francis Hutcheson & Peter Kivy - 1974 - Journal of Aesthetics and Art Criticism 33 (1):102-103.
  44. Music in the Movies: A Philosophical Enquiry.Peter Kivy - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press.
     
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  45.  4
    Jokes Are a Laughing Matter.Peter Kivy - 2003 - Journal of Aesthetics and Art Criticism 61 (1):5-15.
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  46.  42
    Differences.Peter Kivy - 1993 - Journal of Aesthetics and Art Criticism 51 (2):123-132.
  47.  63
    Ars Perfecta: Toward Perfection in Musical Performance?Peter Kivy - 2006 - British Journal of Aesthetics 46 (2):111-132.
    Is there such a thing as the perfect performance of a musical work? It is the thesis of this paper that there is not. The thesis is advanced as the implication or concomitant of an already developed view of musical performance in the Western tradition, outlined in my book, Authenticities (1995).
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  48.  9
    The Work of Music and the Problem of Its Identity.Peter Kivy - 1987 - Journal of Aesthetics and Art Criticism 45 (4):413-415.
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  49.  68
    Voltaire, Hume, and the Problem of Evil.Peter Kivy - 1979 - Philosophy and Literature 3 (2):211-224.
  50.  36
    The Seventh Sense: A Study of Francis Hutcheson's Aesthetics and Its Influence in Eighteenth-Century Britain.Peter Kivy & Francis Hutcheson - 1977 - Journal of Aesthetics and Art Criticism 36 (2):220-222.
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