Abstract

Traditionally, in Anglo-American and Continental philosophy, music is addressed as the object of philosophical analysis: it is either a case study for developing broader, generalizable ideas about ontology, metaphysics, or ethics, or it is the thing that we apply philosophical methods and concepts to.1 It is the philosophy of music, remember. But in the last several decades philosophers in these traditions have increasingly taken “music” as a model for philosophical analysis: There is a branch of Deleuze studies dedicated to this; new materialisms constantly refer to things such as vibration, resonance, and other wave behaviors such as diffraction; and Continental figures such as Jean-Luc Nancy and Adriana...