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Music, value, and the passions

Ithaca: Cornell University Press (1995)

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  1. Expressive perception as projective imagining.Paul Noordhof - 2008 - Mind and Language 23 (3):329–358.
    I argue that our experience of expressive properties (such as the joyfulness or sadness of a piece of music) essentially involves the sensuous imagination (through simulation) of an emotion-guided process which would result in the production of the properties which constitute the realisation of the expressive properties experienced. I compare this proposal with arousal theories, Wollheim’s Freudian account, and other more closely related theories appealing to imagination such as Kendall Walton’s. I explain why the proposal is most naturally developed in (...)
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  • Whimsical desires.Tony Milligan - 2007 - Ratio 20 (3):308–319.
    To desire is to want, but not necessarily to be disposed to do anything. That is to say, desiring does not necessarily involve having any disposition to act. To lend plausibility to this view I appeal to the example of whimsical desires that no action could help us to realise. What may lead us to view certain desires as whimsical is precisely the absence of any possibility of realizing them. While such desires might seem less than full-blooded, I argue that (...)
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  • Emotions in Music: Hanslick and His False Follower.Krzysztof Guczalski - forthcoming - British Journal of Aesthetics.
    Nick Zangwill appears to be acquiring the status of repudiator-in-chief of emotion in music. He is invoked in this role by such authors as Kraut, Bonds, Robinson, Young, Davies and Kania. His ‘manifesto’ paper was recently reprinted in Lamarque and Olsen. This development is unfortunate, because Zangwill, for all his radical-sounding theses, actually argues against views that hardly anyone holds. What is more, some of his arguments in favour of the obvious seem confused and defective. But as for his really (...)
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  • Music, Emotions and the Influence of the Cognitive Sciences.Tom Cochrane - 2010 - Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases allow us (...)
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