An argument is presented to the effect that the ability to feel or to experience meaning conditions the ability to mean, and is thus essential to our notion of meaning. The experience of meaning is manifested in the "fine shades" of use and behavior. Theses, so obvious in music, constitute understanding music, which makes music understanding so relevant to understanding language. Applying these notions of understanding, feeling, and experience--as well as their explication in terms of comparisons, internal relation, and mastery (...) of technique--to music, where they are so apt and natural, is fertile both for the philosophy of language and the philosophy of music. (edited). (shrink)

Chapter: Sense and Intentionality A: Reference and Sense — Preliminary Remarks Few people during Frege's lifetime paid due attention to his work and its ...

Frege’s views on identity continue to provoke scholars, and rightly so. In particular his view in Begriffsschrift of 1879, and its relation to his view in ‘Über Sinn und Bedeutung’ of 1892 deserve careful attention. The issues involved have a wider significance than Frege’s specific views on identity in different periods, though these are important enough. They concern also the move from what I call below ‘thin’ semantics, which is exhausted in signs being assigned content, to a ‘thick’ semantics, in (...) which ‘modes of determining their content’, or Sinne are also concerned. (shrink)

Frege’s views on identity continue to provoke scholars, and rightly so. In particular his view in Begriffsschrift of 1879, and its relation to his view in ‘Über Sinn und Bedeutung’ of 1892 deserve careful attention. The issues involved have a wider significance than Frege’s specific views on identity in different periods, though these are important enough. They concern also the move from what I call below ‘thin’ semantics, which is exhausted in signs being assigned content, to a ‘thick’ semantics, in (...) which ‘modes of determining their content’, or Sinne are also concerned. (shrink)

That there are analytic truths may challenge a principle of the homogeneity of truth. Unlike standard conceptions, in which analyticity is couched in terms of "truth in virtue of meanings", Frege's notions of analytic and a priori concern justification, respecting a principle of the homogeneity of truth. Where there is no justification these notions do not apply, Frege insists. Basic truths and axioms may be analytic (or a priori), though unprovable, which means there is a form of justification which is (...) not (deductive) proof. This is also required for regarding singular factual propositions as a posteriori. A Fregean direction for explicating this wider notion of justification is suggested in terms of his notion of sense (Sinn)—modes in which what the axioms are about are given—and its general epistemological significance is sketched. (shrink)

Based on a conception that a musical composition is constituted by normative properties, it is argued that every such composition has one ideal performance—a performance that fulfils all the aesthetic-normative properties that the composition determines. A performance is conceived of (and evaluated) as inherently and essentially ‘intentionalistic’—being, by its very nature, a performance of a certain composition. This conception allows for various different performances, none of which is preferable over the others. The properties concerned are conceived of broadly as comprising (...) not only the tones themselves and various ‘theoretical’ features such as thematic relations, harmonic progressions, rhythmical structures, but also descriptive, emotive, and ‘rhetorical’ properties, which are ‘objective’ properties of the composition. It is further claimed that these are indicated in the score when properly understood in the light, inter alia, of pertinent conventions, which are the business of theoreticians and musicologists to determine. The main significance of the result lies both in highlighting some important implications of the intentionalistic character of a performance, and in the style of conceptual connection it indicates between a musical composition, its aesthetic-normative properties, and features of performance or ways of fulfilling them. (shrink)

Important aspects of its philosophical basis, and its significance for the foundations of mathematics, appeared in The Foundations of Mathematics (FA, 1884). Six years later, at the beginning of the 1890s, Frege published three articles that mark significant changes in his conception: "Function and Concept" (FC, 1891), "On Sense and Reference" (SR, 1892) and "Concept and Object" (1892). Notable among these changes are: (a) The systematic distinction between the sense and the reference of expressions as two separate ingredients of their (...) meaning. (b) The extension and generalization of the notion of function to include the conception of concepts and relations as functions to truth-values, and the corresponding conception of the two truth-values as objects. These changes were immediately incorporated in the mature, authoritative exposition of his logic in his magnum opus: Basic Laws of Arithmetic (BL), whose first volume appeared in 1893. (shrink)

And indeed we think it not manly to perform music, except when drunk or for fun.Composing, performing, and listening are three familiar musical practices, each having various forms and manifestations. Aesthetic value is usually ascribed to objects—whether artistic or natural. But “object” needs to be understood here in a very wide sense, including, for example, a theatrical production or a ballet. In dealing with music, I assume that complete works are the primary bearers of such value, but we need not (...) deny it from the practices of composing and performing, for they are imbued with those properties and aspects that make their products objects of aesthetic value. I shall not deal with the many problems raised by... (shrink)

Absolute pitch, besides the psychological and neurological interests it has, raises some conceptual difficulties that can teach us about the richness of our notion of musical tone and various aspects of its identification. It is argued that when AP is conceived under a slim notion of identifying the pitch of a crude sound, it is hardly meaningful and has no significance in music comprehension. The rich notion, which is the meaningful and important one, involves knowing the position of a tone (...) in a tone-space and its relations. This is presented as experiential: hearing and identifying tones under concepts and relations that are experienced rather than figured out or derived on the basis of crude identification of bare tones. Since many of these concepts and relations are musically meaningful, this rich notion of identification is thus connected to musical understanding and aesthetic appreciation of a musical work. It may also be claimed to be vital in passing between different sense modalities, and can explain various aspects of AP and puzzles connected with it. (shrink)

On the background of explaining their different notions of analyticity, their different views on definitions, and some aspects of Frege’s notion of sense, three important Kantian strands that interweave into Frege’s view are exposed. First, Frege’s remarkable view that arithmetic, though analytic, contains truths that “extend our knowledge”, and by Kant’s use of the term, should be regarded synthetic. Secondly, that our arithmetical (and logical) knowledge depends on a sort of a capacity to recognize and identify objects, which are given (...) us in particular ways, constituting their senses (Sinne). Third, that there is a sense in which Frege’s view of definitions and explications gives new substance to Kant’s leading idea of analyticity, namely, the containment of a truth or a concept in another. In all these, Frege’s view does not endorse the Kantian strands as they are, but gives them special and sometimes quite sophisticated twists. (shrink)

Resumo Os sentidos para Frege são reais e objectivos, mas não são nem objectos nem funções. Eles são reais por causa da sua objectividade e por serem referências em contextos oblíquos. E, mesmo assim, eles não são objectos: eles não têm o modo de ser dos objectos – entidades identificáveis auto-subsistentes independentes – nem são funções. Assim, a ontologia de Frege inclui ainda uma outra categoria ontológica, a do sentido, que tem o seu próprio modo especial de ser. Entre as (...) suas características encontra-se: a sua intencionalidade, a sua sobreveniência na referência, a compreensibilidade pela mente humana e a limitação pela linguagem. Assim, os sentidos cruzam as distinções ontológicas simples, como a mental / material. Palavras-chave : Frege, funções, objectividade, objectos, platonismo, referência, sentidoFregean senses are real and objective, but neither objects nor functions. They are real because of their objectivity and their being references in oblique contexts. And yet they are not objects: they don’t have the mode of being of objects − independent self-subsistent identifiable entities − neither are they functions. Thus, Frege’s ontology includes another ontological category, that of sense, having its own special mode of being. Among its further characteristics are its intentionality, its supervenience on reference, its being graspable by the human mind and constrained by language. Thus, it crosses simple ontological distinctions like the mental / material one. Keywords : Frege, sense, reference, objects, function, objectivity, platonism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 7-19 [Access article in PDF] Evaluating a Performance - Ideal vs. Great Performance Gilead Bar-Elli Two Notions of Performance Music, as everybody knows, is a performing art. Not only are musical works performed, but they are also designed, by their very nature, to be performed. The notion of a performance of a musical composition is therefore part and parcel of (...) our conception of music. And yet the relationships between a composition and its performances give rise to many difficult problems, some of which will be touched on later. For the present I want to stress two more specific issues in which the significance of the notion of performance for music lies. The first is that a musical composition is constituted by concepts and properties intrinsically connected to performance. In fact, I believe that the very meaning of these concepts and properties is rooted in the ways they are manifested in performance. Hence, even if a certain composition has never and will never be performed, it is still constituted by concepts and properties whose meaning lies in the ways they should be manifested in performance.The second point is that since music is in fact a performing art, since weperform music, and listen to various performances of the same compositions, and conceive of them and evaluate them as music, notions of performance are an integral part of the conceptual repertoire in which we conceive of music. Hence questions pertaining to the nature of performance, and to the relationship between a composition and its performances are inescapable in any philosophical investigation of music. And around these general questions a host of others suggest themselves: What makes a particular performance (even if faulty) a performance of a particular work? Can there be different equally good performances of the same work? In what terms should performances be evaluated (and graded) and how? Can a composition be individuated apart from its performances and how?On many of these problems and the issues surrounding them, a distinction between two conceptions of performance seems helpful, and sometimes [End Page 7] necessary. On the one hand we may conceive of a performance as a musical entity in itself, independently of the composition whose performance it in fact is. A performance thus conceived can be aesthetically evaluated "on its own" so to speak, or in and of itself, with no regard to our having an independent access to the composition whose performance it is. Sometimes, to push it to an extreme, we may not even know that it is a performance of a particular composition, and may not care if it is. Let us call this the"autonomousconception of a performance."On the other hand we often think of a performance as being essentially a performance of a particular composition, and we thus conceive of it and evaluate it. Here knowing which composition the performance is a performance of is essential. It is arguable that on this conception we must also have (in principle at least) an independent access to the composition, by being able to read its score, for example.1 Being a performance of a particular composition is, on this view, part of the very nature and identity of the performance. There can yet be various different performances of the same composition, and they may be compared and evaluated as such. In light of this essential relationship between the performance and "its" composition (the work whose performance it is) let us call this the "intentionalisticconception of a performance."There is a great difference between these two conceptions, and they imply important differences for the nature of music and of musical composition. I am not committing myself here to any particular view of the ontic nature of a composition — whether it is a class of performances, or a kind (in Nicholas Wolterstorff's sense) or a design (in Roger Scruton's).2 I shall exemplify the pertinence of the above distinction for one case. Many people think that music resides only in performances (some would add, actual and possible... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 7-19 [Access article in PDF] Evaluating a Performance - Ideal vs. Great Performance Gilead Bar-Elli Two Notions of Performance Music, as everybody knows, is a performing art. Not only are musical works performed, but they are also designed, by their very nature, to be performed. The notion of a performance of a musical composition is therefore part and parcel of (...) our conception of music. And yet the relationships between a composition and its performances give rise to many difficult problems, some of which will be touched on later. For the present I want to stress two more specific issues in which the significance of the notion of performance for music lies. The first is that a musical composition is constituted by concepts and properties intrinsically connected to performance. In fact, I believe that the very meaning of these concepts and properties is rooted in the ways they are manifested in performance. Hence, even if a certain composition has never and will never be performed, it is still constituted by concepts and properties whose meaning lies in the ways they should be manifested in performance.The second point is that since music is in fact a performing art, since weperform music, and listen to various performances of the same compositions, and conceive of them and evaluate them as music, notions of performance are an integral part of the conceptual repertoire in which we conceive of music. Hence questions pertaining to the nature of performance, and to the relationship between a composition and its performances are inescapable in any philosophical investigation of music. And around these general questions a host of others suggest themselves: What makes a particular performance (even if faulty) a performance of a particular work? Can there be different equally good performances of the same work? In what terms should performances be evaluated (and graded) and how? Can a composition be individuated apart from its performances and how?On many of these problems and the issues surrounding them, a distinction between two conceptions of performance seems helpful, and sometimes [End Page 7] necessary. On the one hand we may conceive of a performance as a musical entity in itself, independently of the composition whose performance it in fact is. A performance thus conceived can be aesthetically evaluated "on its own" so to speak, or in and of itself, with no regard to our having an independent access to the composition whose performance it is. Sometimes, to push it to an extreme, we may not even know that it is a performance of a particular composition, and may not care if it is. Let us call this the"autonomousconception of a performance."On the other hand we often think of a performance as being essentially a performance of a particular composition, and we thus conceive of it and evaluate it. Here knowing which composition the performance is a performance of is essential. It is arguable that on this conception we must also have (in principle at least) an independent access to the composition, by being able to read its score, for example.1 Being a performance of a particular composition is, on this view, part of the very nature and identity of the performance. There can yet be various different performances of the same composition, and they may be compared and evaluated as such. In light of this essential relationship between the performance and "its" composition (the work whose performance it is) let us call this the "intentionalisticconception of a performance."There is a great difference between these two conceptions, and they imply important differences for the nature of music and of musical composition. I am not committing myself here to any particular view of the ontic nature of a composition — whether it is a class of performances, or a kind (in Nicholas Wolterstorff's sense) or a design (in Roger Scruton's).2 I shall exemplify the pertinence of the above distinction for one case. Many people think that music resides only in performances (some would add, actual and possible... (shrink)

In Naming and Necessity Kripke accuses Frege of conflating two notions of meaning (or sense), one is meaning proper, the other is determining of reference (p. 59). More precisely, Kripke argues that Frege conflated the question of how the meaning of a word is given or determined with the question of how its reference is determined. The criterial mark of meaning determination, according to Kripke, is a statement of synonymy: if we give the sense of “a” by means of “b”, (...) then the two expressions must be synonymous. The criterial mark of reference-determination is knowledge, typically a priori, of the truth of their identity: If the reference of “a” is given by “b”, then we know a priori that a is b. Kripke then argues that Frege’s conceptions of both meaning-determination and of reference determination were wrong, and proposes an alternative picture of reference determination. (shrink)

Logical analysis is in Frege primarily not an analysis of a concept but of its sense. Five Fregean philosophical principles are presented as constituting a framework for a theory of logical or conceptual analysis, which I call analytical explication. These principles, scattered and sometime latent in his writings are operative in Frege's critique of other views and in his constructive development of his own view. The proposed conception of analytical explication is partially rooted in Frege's notion of analytical definition. It (...) may also be the basis of what is required of a reduction of one domain to another, if it is to have the philosophical significance many reductions allegedly have. (shrink)

The meaning of words, according to Wittgenstein, is grounded in their use – in the ways they are used. This does not mean only that in order to know the meaning of a word we should look at its use; it is not only a practical recommendation for the linguist or the learner. It is rather a philosophical thesis about the very notion of meaning, according to which use is what constitutes meaning, and about what the very ascription of meaning (...) to a word amounts to. This position calls for a deep investigation of the notion of use – an investigation that preoccupied Wittgenstein throughout his career: What is the notion of use involved here and in what concepts should it be conceived? What are its constituents and what is its extension? How is a word connected with a particular kind of use that constitutes its meaning? What is the nature of the knowledge and the human capacity that are involved in understanding a word and knowing its use? (shrink)

I doubt whether these three theses, which characterize basic features of Davidson's conception of meaning, are coherent. The narrow sense of (1) has (2) as an obvious corollary. The wider sense of (1), or some aspects of it, is partly explicated by (3). But this doesn’t seem to cohere with (2). When theory of meaning is taken in the wider sense to include an account of how one could come to know that such a theory of truth was true (for (...) a given language), and when the full force of the marriage between meaning and belief, as in (3), is appreciated, (2) seems to me doubtful. (shrink)

What is the status of the thesis that sense determines reference in frege's philosophy of language? frege's endorsement of the thesis is notorious, and it has been heavily criticized in recent years. however, it seems to me that both with regard to its exact interpretation and to the role it plays in frege's philosophy of language the thesis is still in need of further clarification. the main claim of the present article is that a certain "realistic" interpretation of the above (...) thesis is implied by frege's main argument for the distinction between sense and reference, and that under this interpretation the thesis meets most of the objections raised against it. the central point of this interpretation is that the sense of a term incorporates conditions that provide ways for picking out an "independently identifiable" object (a "given" object) as the referent of the term. this interpretation is "realistic" in character in that it implies that the conditions incorporated in the sense of a term are not necessarily true of its referent. (shrink)

A musical work is an organized system of notes and of higher musical units such as motives, themes, harmonies, etc. We shall here confine ourselves to notes. A note is not just a physical event (an acoustic disturbance, a passage of wave energy), but a musical entity with functional properties sensitive to context. Roughly, it can be described as an acoustic event under a particular description (“tonic”, “dominant”, “leading tone”, “appoggiatura”, “upper voice of a septachord”, etc.). Are pauses genuine notes (...) in this sense? Surely they are indicated by written signs in the score; but, is that sufficient for regarding them as notes? And are they audible notes? Although this may seem a strange, and, some would say plainly false, idea, we shall see in the sequel that there is much to be said in its favor. (shrink)

The paper presents an analysis of the "role" the notion of aboutness plays in frege's theory of meaning. (edited).

The article aims at discerning and explaining the significance and role of emotive notions in understanding music, in performing it or listening to it with the appropriate understanding. The suggestion focuses on two notions: that of making sense of various musical features and their interconnections, and that of helping manage the enormous information one needs to process in keeping on the trail of the music in real time.

This article had several purposes. First, I wanted to highlight the work of Esther Bubley, an American photographer whose documentary work for the Farm Security Administration and the Office of War Information in the early 1940s is largely unknown. Second, I wanted to show how her images complicated and undermined the traditional themes of Depression era photography in the United States, Third, by looking at her images of women, my intention was to reveal how she worked against depictions of femininity (...) during the Depression, and in confrontation with one-dimensional portrayals of women as America entered the Second World Wan In conclusion, I contend that Bubley's images were fundamentally portrayals of working-class femininity represented as being an individual – rather than a symbolic – experience. Most specifically in the images I have examined, Bubley deconstructs an ideological image of female working-class identity which was central to documentary photography in 1930s America. For example, unlike in photographs by Dorothea Lange, Bubley did not portray working-class women as metaphoric sites of passive endurance which would eventually lead to the rejuvenation of American nationalism. Rather, she showed working-class women to be potentially subversive in the ways they defined themselves against the legacy of 1930s photography and in opposition to the ideological impositions of wartime propaganda. As a result, Bubley's images of working-class women waiting in bars for lonely soldiers, or looking for a future beyond the confines of their boarding house existences while remaining outside the middle-class boundaries defined by capitalist consumerism, set out a pictorial foundation for working-class female identity which exists beyond the context in which the photographs were taken. Consequently, Bubley's work highlights individual self-identity, personal empowerment and self-conscious desire in working-class women which was – and still is – confined and repressed by economic disadvantage and systematic marginalization from an American society defined from a middle-class point of view. (shrink)

Book reviewed in this article: GILEAD BAR‐ELLI, The Sense of Reference. Internationality in Frege, W. de Gruyter, BerliaNew York MICHAEL BEANEY, Frege: Making Sense, Duckworth, London.

This book argues that the irreducible singularity of each person as a psychical subject implies the privacy of the psychical and that of experience, and yet the private accessibility of each person to his or her mind is compatible with interpersonal communication and understanding. The book treats these major issues against the background of the author's original metaphysics--panenmentalism."--Publisher's website.

Our bodies have a story to tell. The Embodied Path weaves inspiring and ordinary body stories together with discussion questions, writing prompts, and breath and body practices to help anyone interested in creating more capacity for compassion for themselves and others by doing the internal work to contend with trauma and privilege.

Considering various arguments in Hume’s Treatise, I reconstruct a Humean argument against personal identity or unity. According to this argument, each distinct perception is separable from the bundle of perceptions to which it belongs and is thus transferable either to the external, material reality or to another psychical reality, another bundle of perceptions. Nevertheless, such transference (Hume’s word!) is entirely illegitimate, otherwise Hume’s argument against causal inference would have failed; furthermore, it violates private, psychical accessibility. I suggest a Humean thought (...) experiment clearly demonstrating that, to the extent that anything within a psychical reality is concerned, no distinction leads to separation or transference and that private, psychical accessibility has to be allowed in the Humean argument for personal identity or unity. Private accessibility and psychical untransferability secure personal identity and unity. Referring to the phenomenon of multiple personality along the lines of the Humean argument for personal identity or unity, I illustrate both private accessibility and a possible notion of one and the same person distinct from his/her alters or psychical parts. Finally, I show why Parfit’s Humean argument against personal identity must fail. (shrink)

This Great Debates volume grew out of exchanges that followed the 2012 publication of a Festschrift volume for Crispin Wright, just over a decade ago (Coliva 2012). As often happens in Philosophy, the process of trying to clarify and iron out apparently local points of disagreement between us has unearthed deeper divergences concerning larger issues in the philosophy of language and mind, in epistemology, and in the theory of action. Such is our profession.

Rationalization, in our intended sense of the term, occurs when a person favors a particular conclusion as a result of some factor (such as self-interest) that is of little justificatory epistemic relevance, if that factor then biases the person’s subsequent search for, and assessment of, potential justifications for the conclusion. Empirical evidence suggests that rationalization is common in people’s moral and philosophical thought. We argue that it is likely that the moral and philosophical thought of philosophers and moral psychologists is (...) also pervaded by rationalization. Moreover, although rationalization has some benefits, overall it would be epistemically better if the moral and philosophical reasoning of people, including professional academics, were not as heavily influenced by rationalization as it likely is. We discuss the significance of our arguments for cognitive management and epistemic responsibility. (shrink)

This chapter is concerned with Noam Chomsky's influence on historical linguistics, one might also ask about the influence of historical linguistics on Chomskyan thought. It outlines the tension between Chomskyan generative grammar and historical linguistics and argues how both have been beneficial to each other. Generative grammar and historical linguistics can benefit from each other's insights. The chapter explains how there is a great deal of influence of Chomskyan, generative linguistics on historical linguistics, in particular syntax, and also shows how (...) Third Factor Principles shape language change. Chomsky's current focus on labeling as a Third Factor effect necessitated by the interfaces and unconnected to Merge makes it possible to see syntactic change in another way, namely as a resolution to labeling problems. Apart from labeling, there are other Third Factor Principles, such as the one to avoid indeterminacy in a derivation. (shrink)