In this paper I discuss Kant’s philosophy of grammar in order to argue that: (a) the formal analysis of language implies that there is a structural correspondence between logical and grammatical form; (b) there is a distinction between the sense in which logic is formal and the sense in which grammar is formal; (c) universal grammar descends from the system of categorial functions that are investigated in the transcendental analytic; (d) transcendental grammar implies that the universal form of human language (...) has its ground in the universal structure of thought; (e) the concept of a grammatical norm is clarified once we combine the theory of universal grammar with how linguistic experience takes place. (shrink)

Music theory has to reinvent itself. Century-long paradigms have to be revisited, and recent terminologies and concepts coming from other fields of music have to find room within the traditional frameworks, particularly in connection with electronic music. In this work, I make an attempt at depicting a framework that might turn useful to further advancements in music theory, by representing the relation between electroacoustic and traditional musics within a scenario dominated by the Philosophy of Language. The Philosophy of Language is (...) herein proposed as a possible philosophical asset to counterbalance some limits of Phenomenology, which has dominated the field of electroacoustic music since its appearance. Within this scenario, the work suggests the notions of "mimesis" and "cadence" as two valid terms to help creating a common ground between the two genres, discussing them in detail and proposing new interpretations for both concepts. (shrink)