Book reviewed in this article:Roger Scruton, The Aesthetics of Music.

Book reviewed in this article: Roger Scruton, The Aesthetics of Music.

Book reviewed in this article:Roger Scruton, The Aesthetics of Music.

Scruton is a self-confessed elitist for whom culture is ‘the creation and creator of elites’, though its meaning ‘lies in emotions and aspirations that are common to all’. This article argues that one can uphold his humane conception of the value of high culture without endorsing elitism. It develops a surprisingly unelitist strand in Scruton's thinking into a meritocratic middle way between elitism and populism, in order to explain why art is in some sense an elite product, but (...) with communal resonance. This aim is furthered by interpreting high culture in terms of the less elitist concept of the classic. (shrink)

Scruton is a self-confessed elitist for whom culture is ‘the creation and creator of elites’, though its meaning ‘lies in emotions and aspirations that are common to all’. This article argues that one can uphold his humane conception of the value of high culture without endorsing elitism. It develops a surprisingly unelitist strand in Scruton's thinking into a meritocratic middle way between elitism and populism, in order to explain why art is in some sense an elite product, but (...) with communal resonance. This aim is furthered by interpreting high culture in terms of the less elitist concept of the classic. (shrink)

Scruton's Aesthetics is a comprehensive critical evaluation of one of the major aestheticians of our age. The lead essay by Scruton is followed by fourteen essays by international commentators plus Scruton's reply. All discuss matters of enduring importance.

This article develops a dynamic account of rhythm as ‘order‐in‐movement’ that opposes static accounts of rhythm as abstract time, as essentially a pattern of possibly unstressed sounds and silences. This dynamic account is humanistic: it focuses on music as a humanly‐produced, sonorous phenomenon, privileging the human as opposed to the abstract, or the organic or mechanical. It defends the claim that movement is the most fundamental conceptualization of music—the basic category in terms of which it is experienced—and suggests, against (...) class='Hi'>Scruton, that music literally and not merely metaphorically moves. (shrink)

This essay reflects on the ability of neuroscientific data to be of personal value and to enrich our lives by offering insight into our capacities for self management and choice. The theory of cognitive dualism proposed by Roger Scruton seeks to preserve rationality and allow for freedom of will, but he appears reluctant to engage with the data accruing in neural studies. I contrast this approach with a Thomistic hylomorphic approach to the philosophy of mind that is founded (...) on participation in being. It offers the potential to draw on neurobiological knowledge for insights into rationality, motivation, and eudaimonia. The role of neural development in eudaimonia is considered and the benefits of a Thomistic hylomorphism founded on participation in esse are summarized. (shrink)

According to the acousmatic thesis defended by Roger Scruton and others, to hear sounds as music is to divorce them from the source or cause of their production. Non-acousmatic experience involves attending to the worldly cause of the sound; in acousmatic experience, sound is detached from that cause. The acousmatic concept originates with Pythagoras, and was developed in the work of 20th century musique concrète composers such as Pierre Schaeffer. The concept yields important insights into the nature of (...) musical experience, but Scruton's version of the acousmatic thesis cannot overcome objections arising from timbral and spatial aspects of music, which seem to relate sounds to the circumstances of their production. These objections arise in part from music's status as a performing art rooted in human gesture and behaviour. Hence I defend a two-fold thesis of "hearing-in", which parallels Richard Wollheim's concept of "seeing-in": both acousmatic and.. (shrink)

Few philosophers have published at the impressively prolific rate that Roger Scruton has. Of the forty-two books by Scruton listed in a special bibliography at the end of Scruton’s Aesthetics, no fewer than nine of them have been devoted to topics in aesthetics. The present volume, edited by Andy Hamilton and Nick Zangwill, arises out of a 2008 conference devoted to Scruton’s seminal work in this field. While sympathetic in tone, the majority of (...) the essays critically engage with Scruton’s views on a number of topics in aesthetics, with particular attention devoted to issues of music and of architecture. Although Scruton’s frequently discussed and sometimes provocative views will be familiar to most readers, the contributions to this volume manage well in reconstructing enough of the background to be intelligible to the reader not already well-versed in Scruton’s wide-ranging body of work. (shrink)

The visual arts include painting, sculpture, photography, video, and film. But many people would argue that music is the universal or only art of sound. In the modernist era, Western art music has incorporated unpitched sounds or ‘noise’, and I pursue the question of whether this process allows space for a non-musical soundart. Are there non-musical arts of sound—is there an art phonography, for instance, to parallel art photography? At the same time, I attempt a characterization of music, contrasting acoustic, (...) aesthetic, and acousmatic accounts. My view is that there is some truth in all of these. I defend the claim that music is an art with a small ‘a’—a practice involving skill or craft whose ends are essentially aesthetic, that especially rewards aesthetic attention—whose material is sounds exhibiting tonal organization. But acoustic and acousmatic accounts help to distinguish between music and non-musical soundart, since music must have a preponderance of tones for its material. (shrink)

What is music, what is its value, and what does it mean? In this stimulating volume, Roger Scruton offers a comprehensive account of the nature and significance of music from the perspective of modern philosophy. The study begins with the metaphysics of sound. Scruton distinguishes sound from tone; analyzes rhythm, melody, and harmony; and explores the various dimensions of musical organization and musical meaning. Taking on various fashionable theories in the philosophy and theory of music, he presents (...) a compelling case for the moral significance of music, its place in our culture, and the need for taste and discrimination in performing and listening to it. Laying down principles for musical analysis and criticism, this bold work concludes with a theory of culture--and a devastating demolition of modern popular music. "A provocative new study."--The Guardian. (shrink)

Ferruccio Busoni's Sketch of a New Aesthetic of Music appeared in 1910. Schoenberg, in his copy of the little book, wrote critical marginal comments which crystallize two opposed outlooks in musical aesthetics. Busoni writes: Notation, the writing out of compositions, is primarily an ingenious expedient for catching an inspiration, with the purpose of exploiting it later. But notation is to improvisation as the portrait is to the living model… …What the composer's inspiration necessarily loses through notation, his interpreter should restore (...) by his own…. (shrink)

In addition the book also includes a good number of unpublished essays.

Book Description: First published in 1980, this contribution to political thought is a statement of the traditional conservative position. Roger Scruton challenges those who would regard themselves as conservatives, and also their opponents. Conservatism, he argues, has little in common with liberalism, and is only tenuously related to the market economy, to monetarism, to free enterprise or to capitalism. It involves neither hostility towards the state, nor the desire to limit the state's obligation towards the citizen. Its conceptions (...) of society, law and citizenship regard the individual not as the premise but as the conclusion of politics. At the same time it is fundamentally opposed to the ethic of social justice, to equality of station, opportunity, income and achievement, and to the attempt to bring major institutions of society such as schools and universities under government control. (shrink)

It seems odd to say that photography is not a mode of representation. For a photograph has in common with a painting the property by which the painting represents the world, the property of sharing, in some sense, the appearance of its subject. Indeed, it is sometimes thought that since a photograph more effectively shares the appearance of its subject than a typical painting, photography is a better mode of representation. Photography might even be thought of as having replaced painting (...) as a mode of visual representation. Painters have felt that if the aim of painting is really to reproduce the appearances of things, then painting must give way to whatever means are available to reproduce an appearance more accurately. It has therefore been said that painting aims to record the appearances of things only so as to capture the experience of observing them and that the accurate copying of appearances will normally be at variance with this aim. Here we have the seeds of expressionism and the origin of the view that painting is somehow purer when it is abstract and closer to its essence as an art. Roger Scruton is the author of Art and Imagination, The Aesthetics of Architecture, The Meaning of Conservatism, From Descartes to Wittgenstein, and The Politics of Culture and Other Essays. (shrink)

A dazzling treatise, as erudite and eloquent as Simone de Beauvoir's The Second Sex and considerably more sound in its conclusion - TLS "He is an eloquent and practised writer" - The Independent (UK) When John desires Mary or Mary desires John, what does either of them want? What is meant by innocence, passion, love and arousal, desire, perversion and shame? These are just a few of the questions Roger Scruton addresses in this thought-provoking intellectual adventure. Beginning from (...) purely philosophical premises, and ranging over human life, art and institutions, he surveys the entire field of sexuality; equally dissatisfied with puritanism and permissiveness, he argues for a radical break with recent theories. Upholding traditional morality - though in terms that may shock many of its practitioners - his argument gravitates to that which is candid, serene and consoling in the experience of sexual love. (shrink)

A compelling defense of the sacred by one of today's leading philosophers In The Soul of the World, renowned philosopher Roger Scruton defends the experience of the sacred against today's fashionable forms of atheism. He argues that our personal relationships, moral intuitions, and aesthetic judgments hint at a transcendent dimension that cannot be understood through the lens of science alone. To be fully alive—and to understand what we are—is to acknowledge the reality of sacred things. Rather than an (...) argument for the existence of God, or a defense of the truth of religion, the book is an extended reflection on why a sense of the sacred is essential to human life—and what the final loss of the sacred would mean. In short, the book addresses the most important question of modernity: what is left of our aspirations after science has delivered its verdict about what we are? Drawing on art, architecture, music, and literature, Scruton suggests that the highest forms of human experience and expression tell the story of our religious need, and of our quest for the being who might answer it, and that this search for the sacred endows the world with a soul. Evolution cannot explain our conception of the sacred; neuroscience is irrelevant to our interpersonal relationships, which provide a model for our posture toward God; and scientific understanding has nothing to say about the experience of beauty, which provides a God’s-eye perspective on reality. Ultimately, a world without the sacred would be a completely different world—one in which we humans are not truly at home. Yet despite the shrinking place for the sacred in today’s world, Scruton says, the paths to transcendence remain open. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mild Cognitive Impairment:Which Kind Is It?Andy Hamilton (bio)Keywordshuman kinds, mild cognitive impairment, multiple personality disorder, practical kinds, social constructionThere is much stimulating material in the Graham and Ritchie's paper (2006), concerning not just disease-classification but also the ethics of diagnosis. My concern is with the way in which they adduce Ian Hacking's views in the philosophy of science in support of their own. The authors quote with (...) approval his "dynamic nominalism" and its influence on Zachar's concept of "practical kinds." Hacking's view, as the authors quote it, is that "People classified in a certain way tend to conform to or grow into the ways that they are described; but they also evolve in their own ways, so that the classifications and descriptions have to be constantly revised" (1995, 21). The act of classifying changes both the classifier and the subject of classification, resulting in facts and categories that are both socially created and real. Hacking calls this "the looping effect of human kinds," and comments that "Multiple personality [disorder] is an almost too perfect illustration of this feedback effect" (1995, 21). The authors comment that Zachar (2000) builds on Hacking's position, discarding essentialist notions of classification that are limited to inherent biological properties, and turning instead to "practical kinds—nonarbitrary cultural artifacts intended to meet pragmatic needs (e.g. therapeutic, predictive prognostic, labeling effects, and physiology)" (Graham and Ritchie 2006, 36). Practical kinds, they believe, offer a way out of the clinical approach focused on mild cognitive impairment (MCI) as a precursor to, or mild form of, Alzheimer's disease. The inclination of the authors, as I read them, is to treat MCI as a practical or human kind, and not, like Alzheimer's disease, as a natural kind.My concern is whether the "looping effect of human kinds" can be transferred to the case of MCI from Hacking's original case study in Rewriting the Soul, multiple personality disorder (MPD). Hacking wished there to undermine the traditional debate over whether MPD is a "social or psychiatric artifact." He claims, correctly I think, that the presupposition behind the question "Is MPD a real disorder as opposed to a product of social circumstances?" should be rejected. The fact that a disorder is a product of social circumstances does not make it less real (1995, 12). On the looping of human kinds, Hacking comments that "The concept of child abuse [implicated in MPD] may itself be so made and molded by attempts at knowledge and intervention, and social reaction to these studies, that there is no stable object, child abuse, to have knowledge about." This is a "no fact of the matter" response, and it [End Page 51] is based on the recognition of conceptual change. He later adds that child abuse "is a real evil, and it was so before the concept was constructed. It was nevertheless constructed. Neither reality nor construction should be in question" (1995, 61, 68). However, Hacking's conclusions about the reality of MPD express only a muted skepticism. Utilitarian skeptics approach this question by asking, "What is the most effective treatment?" Hacking writes that "in their hearts [such skeptics] suspect that the outcome of multiple therapy [therapy that condones or even encourages the development of multiples in the patient] is a type of false consciousness" (1995, 267). The skeptics about MPD are making a moral judgment, he believes; but on whether that moral judgment is correct, he is silent, although the suspicion must be that he agrees with it.How do these considerations apply to the case of MCI? Graham and Ritchie rightly note that classifying a subject as suffering from MCI, and informing them of the diagnosis, will affect them adversely—it will cause suffering not least because there is at present no cure. However, it must surely be conceded that any disease at all—physical or mental—is a social entity insofar as it involves behavioral ascriptions to the subject concerning their incapacity. The authors also note the vested interests—especially from the pharmaceutical industry—in developing a diagnostic category of MCI. These interests are present in the development of any significant diagnostic... (shrink)

Aesthetics and Music is a rich and interesting study. Hamilton's approach is innovative. He interleaves chapters on the history of philosophical thought about music with more theoretical discussions of music, sound, rhythm and improvisation, but does not cover the work–performance relation, depiction or expression. He draws on an atypically broad range of examples, including avant-garde, medieval, non-Western and jazz. The assumptions are humanist: ‘I wish to argue for an aesthetic conception of music as an art … according to which (...) music is a human activity grounded in the body and bodily movement and interfused with human life’.The historical chapters are valuable and not without analysis and criticism. Hamilton shows how the ancient Greek theorists were more interested in music's mathematical properties as reflecting the underlying harmony of relations between cosmic bodies than in the practice of musicians. While they equated the value of art with its contribution to an education for citizenship and while their concept of the arts differed …. (shrink)

Human Beauty 3. Natural Beauty 4. Everyday Beauty 5. Artistic Beauty 6. Taste and Order 7. Eros and Art 8. Sacred Beauty Notes and Further Reading.

Brings together essays on the philosophy of art in which a philosophical theory of aesthetic judgment is tested and developed through its application to particular examples. Each essay approaches, from its own field of study, what Roger Scruton argues to be the central problems of aesthetics -- what is aesthetic experience, and what is its importance for human conduct? The book is divided into four parts. The first contains a resume of modern analytical aesthetics, which also serves as (...) an introduction to subsequent chapters. It also includes an essay that reviews current theories of literary criticism. The second part is devoted to musical aesthetics and contains the theoretical core of the work. Here Scruton describes the contours of aesthetic understanding, and defends the view that the object of aesthetic experience is inherently significant, even when it has no "content" that can be described in propositional terms. He rebuts the view that music is representational, and in the third part goes on to propose a theory of representation whereby to refute the suggestion that photography is a representational art. This third section also contains a study of film. The final part comprises essays relating aesthetic judgment to the understanding of culture, humor, and design. It covers many subjects, including the prose works of Samuel Beckett and the architecture of Leninism. The essays in this book form parts of a single intellectual enterprise, which is to give analytical foundations to the criticism of literature, visual art, music, and culture. (shrink)

This paperback edition is fully updated with new chapters on the livestoick crisis, fishing and BSE and a layman's guide introduction to philosophical concepts, ...

My intention is to show that, starting from an empiricist philosophy of mind, it is possible to give a systematic account of aesthetic experience. I argue that empiricism involves a certain theory of meaning and truth; one problem is to show how this theory is compatible with the activity of aesthetic judgment. I investigate and reject two attempts to delimit the realm of the aesthetic: one in terms of the individuality of the aesthetic object, and the other in terms of (...) 'aesthetic properties'. I go on to argue that aesthetic descriptions must not be thought to ascribe properties to their objects, and I show how the suggestion that they are non-descriptive need not conflict with the empiricist view of meaning. The problem is then seen to lie with the analysis of the 'acceptance-conditions' of aesthetic descriptions. I counter certain idealist objections to this approach, and then present a theory of imagination, in terms of which the acceptance conditions of aesthetic judgments may be described. This theory attempts to explain how the element of thought in aesthetic appreciation may become inseparable from an experience of its object, and how the aesthetic emotions are both like and unlike their equivalents in life. The first part concludes with an analysis of the general conditions of aesthetic experience. I try to show that aesthetic experience can be described in terms of certain 'formal' properties, independently of its material object. In the second part I am concerned to show that this empiricist theory of aesthetics does not, like most empiricist theories, make nonsense of our appreciation of art. First, I attempt to show that 'understanding' art is not merely a cognitive process, but involves certain experiences that can be accounted for in terms of the previous theory. I then analyse the concepts of representation and expression, and in the course of this analysis I attempt to refute what I take to be the most serious rival analysis of our appreciation of art - the semantic theory. (shrink)

Roger Scruton; VII*—Self-Knowledge and Intention, Proceedings of the Aristotelian Society, Volume 77, Issue 1, 1 June 1977, Pages 87–106, https://doi.org/10.109.

Roger Scruton; VII*—Self-Knowledge and Intention, Proceedings of the Aristotelian Society, Volume 77, Issue 1, 1 June 1977, Pages 87–106, https://doi.org/10.109.

In The Blue Book, Wittgenstein defined a category of uses of “I” which he termed “I”-as-subject, contrasting them with “I”-as-object uses. The hallmark of this category is immunity to error through misidentification (IEM). This article extends Wittgenstein’s characterisation to the case of memory-judgments, discusses the significance of IEM for self-consciousness—developing the idea that having a first-person thought involves thinking about oneself in a distinctive way in which one cannot think of anyone or anything else—and refutes a common objection to the (...) claim that memory-judgments exhibit IEM. (shrink)

From Botticelli to birdsong, Mozart, and the Turner Prize, Roger Scruton explores what it means for something to be beautiful. This thought-provoking introduction to the philosophy of beauty draws conclusions that some may find controversial, but, as Scruton shows, help us to find greater sense of meaning in the beautiful objects around us.

Philosopher Roger Scruton offers a wide-ranging perspective on philosophy, from logic to aesthetics, written in a lively and engaging way that is sure to stimulate debate. Rather than producing a survey of an academic discipline, Scruton reclaims philosophy for worldly concerns.

A brief, radical defense of human uniqueness from acclaimed philosopher Roger Scruton In this short book, acclaimed writer and philosopher Roger Scruton presents an original and radical defense of human uniqueness. Confronting the views of evolutionary psychologists, utilitarian moralists, and philosophical materialists such as Richard Dawkins and Daniel Dennett, Scruton argues that human beings cannot be understood simply as biological objects. We are not only human animals; we are also persons, in essential relation with other (...) persons, and bound to them by obligations and rights. Our world is a shared world, exhibiting freedom, value, and accountability, and to understand it we must address other people face to face and I to I. Scruton develops and defends his account of human nature by ranging widely across intellectual history, from Plato and Averroës to Darwin and Wittgenstein. The book begins with Kant's suggestion that we are distinguished by our ability to say "I"—by our sense of ourselves as the centers of self-conscious reflection. This fact is manifested in our emotions, interests, and relations. It is the foundation of the moral sense, as well as of the aesthetic and religious conceptions through which we shape the human world and endow it with meaning. And it lies outside the scope of modern materialist philosophy, even though it is a natural and not a supernatural fact. Ultimately, Scruton offers a new way of understanding how self-consciousness affects the question of how we should live. The result is a rich view of human nature that challenges some of today's most fashionable ideas about our species. (shrink)

An account of the primary elements of the musical experience, arguing that rhythm, accent, melody, harmony, and movement are all features of the intentional object of musical perception but not features of the material object in which that intentional object is heard. Musical perception involves an act of metaphorical transfer, which orders sounds according to concepts that do not literally apply to them.

The pervasive dispositional model of belief is misguided. It fails to acknowledge the authority of first‐person ascriptions or avowals of belief, and the “decision principle”– that having decided the question whether p, there is, for me, no further question whether I believe that p. The dilemma is how one can have immediate knowledge of a state extended in time; its resolution lies in the expressive character of avowals – which does not imply a non‐assertoric thesis – and their non‐cognitive status. (...) The common claim that there are higher‐order beliefs concerning ones present beliefs is rejected as unintelligible. The decision principle is defended against claims of “unconscious belief”; there is no interesting such category, since all beliefs are liable at some time to be considered, but mostly to be out of mind. Belief is not constituted by a disposition, but is connected with dispositions – it is an “attitude concept”. (shrink)

This good-humoured book offers an antidote to the pretentious clap-trap that is written about wine today and a profound apology for the drink on which..

Following his celebrated book The Aesthetics of Music, Scruton explores the fundamental elements that constitute a great piece of music.