Philosophy of Music

Contemporary art can seem chaotic: it may be made of toilet paper, candies you can eat, or meat that is thrown out after each exhibition. Some works fill a room with obsessively fabricated objects, while others purport to include only concepts, thoughts, or language. Immaterial argues that, despite these unruly appearances, making rules is a key part of what many contemporary artists do when they make their works, and these rules can explain disparate developments in installation art, conceptual art, time-based (...) media art, and participatory art. -/- Sherri Irvin shows how rules are now an artistic medium: they are part of the work's structure and shape what it expresses. Rules are meaningful in themselves and help to activate the meanings of non-art materials and found objects, so audiences need to know about the rules to get the most out of their art experiences. Loss of information about the rules, like loss of a chunk of marble, can seriously damage the work, and preserving rules as well as objects is reshaping how museums maintain their collections. Where rules collide with real-world circumstances, they may be broken maliciously, mistakenly, or for good reasons, threatening the work's meanings and sometimes its very existence. -/- Should we celebrate the prominence of rules in contemporary art? Irvin argues that, while rules aren't always used well, they can be used to create distinctive meanings and provide powerful immersive experiences not achievable through any other means. (shrink)

Many people appear to attach great value to sad music. But why? One way to gain insight into this question is to turn away from music and look instead at why people value sad conversations. In the case of conversations, the answer seems to be that expressing sadness creates a sense of genuine connection. We propose that sad music can also have this type of value. Listening to a sad song can give one a sense of genuine connection. We then (...) explore the nature of this value in two experimental studies. The results suggest a striking relationship between music and conversation. People see something distinctively musical in works that express precisely those emotions that they think most create connection within conversation. (shrink)

John Cage and Henry David Thoreau draw attention to the indeterminacy of wild nature and imply humans cannot entirely control the natural world. This paper argues Cage and Thoreau each encourages his audience to recognize their own human limitations in relation to wildness, and thus each helps his audience to develop greater humility before nature. By reflecting on how Thoreau’s theory relates to Cage’s music, we can recognize how Cage’s music contributes to audiences’ environmental moral education. We can appreciate the (...) role of music in helping audiences to develop values conducive to environmentally sustainable practices. (shrink)

In this critical study of Julian Dodd’s Being True to Works of Music, I argue that the three-tier normative profile of the work-performance tradition in classical music that Dodd defends should be rejected in favour of a two-tier version. I also argue that the theory of work-performance defended in the book fits much more naturally with a contextualist ontology of musical works than with the Platonist ontology Dodd defends in Works of Music, despite his arguments to the contrary in the (...) afterword of the new book. Finally, I argue that the reasons he gives for preferring a ‘tradition-based’ over a ‘historicized’ theory of the understanding of classical scores are not convincing. (shrink)

Deleuze's 'Difference and Repetition -Irfan Ajvazi.

German Idealism began with Leibniz and lasted until Schopenhauer, with a few central European after-shocks in the work of Husserl and his followers. That great epoch in German philosophy coincided with a great epoch in German music. It is scarcely surprising, therefore, that Idealist philosophers should have paid special attention to this art form. Looking back on it, is there anything of this prolonged encounter between music and philosophy that we can consider to be a real advance, and one that (...) we should draw on? Many have thought so, not least because Idealism, as it matured in the post-Kantian period, inherited the adulation for art in general, and music in particular, that we find in the writings of the German Romantics, notably in Schiller, Tieck and Wackenroder. The post-Kantian Idealists connected aesthetic experience with their claims to reveal the secret meaning of things, in the infinite, the absolute, the transcendental, the ineffable or some other such object of a quasi-religious devotion. Such we find in the writings of Schelling, Fichte, Hegel and Schopenhauer, the last of whom made music not only an object of philosophy, but a prime example of it. Music, Schopenhauer wrote, is not unconscious arithmetic, as Leibniz had claimed, but unconscious philosophy, since in music the inner essence of the world, which is will, is made directly present to the intellect. (shrink)

This paper is concerned with the aesthetic and discursive gap between music and contemporary art, and the recent attempts to remedy this in the field of New Music through a notion of “New Conceptualism.” It examines why, despite musical sources being central to the emergence of conceptual artistic strategies in the 1950s and ’60s, the worlds of an increasingly transmedial “generic art” and music have remained largely distinct. While it takes New Music’s New Conceptualism as its focus, it argues that (...) the perspective on New Music it takes has wider implications in music and art. It begins by defining what exactly “New Music” refers to, and outlines some of the conditions for the recent rise of conceptualism in New Music. It then takes the work of the composer Johannes Kreidler as a key example of some artistic tendencies and theoretical presuppositions in New Conceptualism. Following this it draws on work in the field of sound studies in order to critically examine the theoretical attempt to connect New Music with contemporary art that is found in the notion of “Music in the Expanded Field.” To conclude it offers some reflections on how a more robust conversation between contemporary art and New Music can begin to be conceived. (shrink)

Peter Kivy has said that the power of purely instrumental music remains an unexplained wonder. With this larger question in mind, I will consider: the issues in musical aesthetics that led to what Kivy termed his enhanced formalism, his conception of expressive properties in music and how a distinction between having and understanding an emotion can help clarify this issues here, and, most importantly for Kivy’s larger mystery, the way that counterpoint, in an often unrecognized way, can present mimetic content (...) of a kind that can explain the sense of musical profundity that it often awakens. It may turn out that absolute music’s profundity can be explained by the resonances this kind of layered and complex music has with the living, the ordering, the making sense, of a life. (shrink)

There are many ways in which a musical performance can be “bad,” but here the focus is on two: those performances that make you laugh, and those that make you angry. These forms of musical badness, however, are not primarily compositional deficits, but either that the performer simply cannot competently deliver the music to their audience, inducing laughter, or that the performer exhibits some form of disrespect, provoking anger. Such laughter or anger stems from failure of the expected relationship between (...) a performer and their audience, that is, a social failure. After surveying a range of musical faults, the article examines the causes of laughter in general and in relation to some of examples of risible “bad” music. Similarly, the causes of social and moral anger in general are examined, and several cases of anger-inducing musical performances are presented. The article concludes with a consideration of the broader implications of these responses to “bad” music for theories of emotional expression in music, the relationship between aesthetic and moral judgments, and the centrality of musical performances as opposed to works in discussions of musical expression and value. (shrink)

The article argues that the proposal to produce a digital Ring cycle was not just ethically and economically misguided, but aesthetically misguided as well. Orchestras produces performances, and the proposed digital Ring would not have produced genuine performances of the Ring operas. Nevertheless, a digital musical work might allow us to reconstruct, and in that way recover and gain access to, a full-fledged musical work.

PREFÁCIO -/- A descoberta do ouro no interior de Minas Gerais, sobretudo em Vila Rica, atual cidade de Ouro Preto, desencadeou na formação de uma sociedade refinada. A febre pelo sonho dourado fez crescer o número de pessoas de diversas nações que migraram para lá em busca da riqueza.

Thesis -University of KwaZulu-Natal, Durban, 2011.

This project aims to examine whether music has an emotional nature. I use the ancient Chinese text Music Has No Grief or Joy to construct three arguments for the illusion view, according to which music has no emotional nature and the emotional appearances of music are illusory. These arguments highlight representational inconstancy, expressive incapability, and evocative underdetermination as three ways to problematize the idea that music has an emotional nature. I draw on the Confucian tradition to formulate three responses to (...) the illusion view from representational reliability, expressive sincerity, and evocative appropriateness. These responses are shown to be inadequate. To examine the illusion view in detail, I adopt a comparative approach to structure a dialogue between ancient Eastern philosophy and contemporary Western philosophy. Nine arguments are constructed from three prominent approaches in contemporary Western musical aesthetics on the evocation, expression, and representation of emotion. I argue that each of these arguments reads emotion into music. Nevertheless, three insights emerge from the comparative discussion. The autonomy of emotional enjoyment, the possibility of emotional communication, and the function of emotional language in musical experiences call for explanations. I argue that the illusion view are amenable to these insights. The illusion view allows us to claim full ownership of emotional responses, have emotional communication by recognizing intended emotional meanings in music, and appreciate the practical value of emotional language in music industry and education. I formulate a possible objection on the basis of Charles Swann’s musical experience in Marcel Proust’s novel, according to which music has emotional agency in the formation of an emotion. This objection can be met and Swann’s musical experience can be integrated into the illusion view. The illusion view turns out to be experientially richer than it might appear at first. This project liberates musical listening and philosophical thinking from beliefs entrenched in the emotional illusion of music. (shrink)

A philosophical examination of 'new wave' as a musical genre, focusing on its developmental history and relation to punk as well as its unique ethos and aesthetic. Forthcoming 2021.

The relationship between music and memory is mainly developed in Music and Its Lovers (1932), a book where Lee presents interesting psychological and philosophical insights from the analysis of the responses made by 150 people to a questionnaire about the “expressive and emotional powers of music”. In this short encyclopedic entry, I present Lee's analysis of the many different ways in which musical experience depends on memory.

Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that country authenticity gets at anything real; widespread (...) ideas about country authenticity are rooted in a racist and fabricated picture of country music. In discussing these two issues, I highlight the importance of community in country music. (shrink)

The Philosophy of Rhythm: Aesthetics, Music, PoeticsCHEYNEPETER, HAMILTONANDY AND PADDISONMAX oup. 2020. pp. 432. £29.99.

We enjoy sounds. What about silence: the absence of sound? Certainly not all, but surely many of us seek out, attend to, and appreciate silence. But, if nothing is there, then there is nothing to possess aesthetic qualities that might engage aesthetic interest or reward aesthetic attention. This is at least puzzling, perhaps even paradoxical. In this paper, I attempt to dispel the sense of paradox and provide a way to understand aesthetic appreciation of silence. I argue that silence can (...) have an aesthetic character and can sustain the kinds of rich experiences apt for aesthetic assessment and appraisal. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 85-90, Winter 2020.

Based on chapter 3 “The musical Work and its score” of Roman Ingarden’s The Work of Music and the Problem of its Identity, this paper examines the semiotic theory from which the Polish philosopher develops his analysis of music.

The relationship between music and dance can sometimes be a ‘match’, a remarkable fit between the audible manifestation that music is and the visual or kinaesthetic manifestation that dance is. A match between two things seems to require a common measure with respect to which the match obtains. What can this be for two so different phenomena as music and dance? I argue that the most promising answer is: movement. This answer will not be satisfactory unless the movement of music (...) and the movement of dance are the same on some level. I suggest that they are: there are qualities of movement that guide both dancers and musicians when producing dance and music as perceptible phenomena. But the match in qualities is elusive, since the qualities are instantiated in different ways in music and dance, respectively. (shrink)

Despite severe amnesia, some studies showed that Alzheimer Disease patients with moderate to severe dementia keep a consistent, but impoverished representation of themselves, showing preservation of the sense of identity even at severe stages of the illness. Some studies suggest that listening to music can facilitate the reminiscence of autobiographical memories and that stimulating autobiographical memory would be relevant to support the self of these patients. Consequently, we hypothesized that repeated participation to reminiscence workshops, using excerpts of familiar songs as (...) prompts would participate to the enrichment of autobiographical memories, self-representation and sense of identity. We included a group of 20 AD patients with severe dementia residing in nursing homes. Their performances were compared to a control group of 20 matched healthy residents living in the same institutions. The experiment was conducted in three phases over a 2-week period. On phase 1, an individual assessment of sense of identity was proposed to each participant. On phase 2, participants joined musical reminiscence workshops. During the third phase, individual evaluation of autobiographical memory and a second assessment of sense of identity were proposed. Our results showed that, despite their massive amnesia syndrome, autobiographical memories of AD reached at the end of the 2 weeks the number and quality of those of matched controls. Moreover, we confirmed a continuity of self-representation in AD patients with a stable profile of the answers between the first and second individual assessments of sense of identity. However, the increase in number and episodic quality of autobiographical memories was not accompanied by an enrichment of the sense of identity. In a complementary study, new patients participated in the same paradigm, but using movie extracts as prompts, and showed very similar effects. We discuss all of these results with regard to the literature showing the significant impact of repetition on the reactivation of memory traces even in very amnestic AD patients at severe stages of the disease. (shrink)

Dieses Kapitel handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...) Empathie für die Kunst. (shrink)

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 90-94, Winter 2020.

The Journal of Aesthetics and Art Criticism, Volume 78, Issue 1, Page 90-94, Winter 2020.

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

In questa nota si fornisce un esempio preliminare di analisi pragmatica delle strutture musicali. Nell’analisi, la stipulazione di una pragmatica musicale segue strettamente recenti proposte presentate in ambito semantico, in cui si illustrano le potenziali virtù rappresentazionali delle strutture musicali. In particolare, in questa nota si suggerisce la presenza di strategie di ricostruzione dei significati musicali le quali intervengono a prevenire la realizzazione di contenuti semantici contraddittori. L’evidenza utilizzata è ricavata da alcune misure del madrigale primo del II libro dei (...) madrigali di Monteverdi (1590), e dal testo (di T. Tasso) che le accompagna; sviluppi dell’analisi qui proposta dovranno fondarsi su evidenze indipendenti e auspicabilmente naturali. (shrink)

This paper considers the role of myth and phenomenology in Pierre Schaeffer’s research into music and sound, and argues that engagement with these themes allows us to rethink the legacy and contemporary value of Schaeffer’s thought in sound studies. In light of critique of Schaeffer’s project, in particular that developed by Brian Kane and Schaeffer’s own apparent self-disavowal, this paper returns to Schaeffer’s early remarks on the “myth of the seashell” in order to examine the conditions of this critique. While (...) Kane argues that Schaeffer’s recourse to myth, coupled with his adoption of Husserlian phenomenology, leads to a closure of his inquiry and a failure to accommodate the contingency of his position, this paper argues that Schaeffer’s myth of the seashell brings into focus an open-ended, motivating phenomenological problem concerning subjectivity and objectivity that runs through his thought. Drawing on the philosophical work of Gaston Bachelard and Gilles Deleuze, this paper considers the epistemological significance of this moment in Schaeffer’s thought, suggesting a “problematic” account of the myth of the seashell that puts Schaeffer into conversation with contemporary work in epistemology. (shrink)

This paper explores some phenomenological consequences of the ontological affinity between films and pop songs. Given the central place of the recording technology in both films and pop songs, one can wonder whether pop songs can elicit from their listeners the same kind of experience that films elicit from their spectators. In other words, one can wonder whether pop songs encourage us to play a ‘game of make-believe’ analogous to that we play when we engage with films. The main part (...) of the paper is meant to provide a positive answer to this question. The remaining sections illustrate and test the proposed account by contrasting paradigmatic pop songs with borderline cases. (shrink)

Stanley Cavell isn't the first to arrive at philosophy through a life with music. Nor is he the first whose philosophical practice bears the marks of that life. Much of Cavell's life with music is confirmed for the world in his philosophical autobiography Little Did I Know. A central moment in that book is Cavell's describing the realization that he was to leave his musical career behind – for what exactly, he did not yet know. He connects the memory-shock of (...) this leaving with "the work of mourning." How does such a life out of music inform Cavell's philosophical sensibility? The thought I follow in this essay is that Cavell's distinctive orientation in philosophy – call this his lifelong coming to terms with his abandoning a life in music – is guided in part by an interest in those moments in experience where words seem to run out, or veer toward nonsense, leaving in their wake touchstones of ecstasy. I explore this idea by summarizing my exchange with Stanley Cavell years ago when I asked him whether certain passages from his essay "Music Discomposed" are depictions of the unsayable. Cavell's response is elaborated, or qualified, by considering a pair of moments in Little Did I Know where words appear to run out. I conclude by discussing culminating thoughts on the burden borne by words and their failure that appear in Cavell's late essay on music, "Impressions of Revolution.". (shrink)

ABSTRACT Ted Gioia associated the “aesthetics of imperfection” with improvised music. In an earlier article, I extended it to all musical performance. This article reconceives my discussion, offering more precise analyses: The aesthetics of imperfection is now argued to involve open, spontaneous response to contingencies of performance or production, reacting positively to idiosyncratic instruments; apparent failings in performance, and so on. Perfectionists, in contrast, prefer a planning model, not readily modified in face of contingencies. Imperfection is not toleration of errors (...) and imperfections, as Gioia assumes, but a positive aesthetic, as in Japanese wabi-sabi. Imperfections can become new styles or kinds of perfection—and so true imperfectionism is a constant striving for new contingencies to respond to. A subtler, more complex relation between composition and improvisation is proposed, in which both have broad and narrow senses. Composition involves works, usually desk produced and notated; or more generally, putting things together in an aesthetically rewarding form. Thus, improvisation is a compositional method. Improvisation and composition are interdependent; both involve structure and spontaneity. Imperfectionism is an aesthetics of performance—of compositions as well as improvisations. Improvisation is no risker, or prone to mistakes, than performance of compositions. (shrink)