Musical Understanding: Theory of Musical Description or Theory of Musical Perception?

Dissertation, University of Hawai'i (1996)
  Copy   BIBTEX

Abstract

The prevalent view today concerning musical understanding is that a necessary condition of musical understanding is the verbal ability to describe music. In the first two chapters I critically examine two kinds of theory of musical description: in chapter one, I consider the positions of Peter Kivy and Roger Scruton, which represent the view that verbal descriptions are essential to musical understanding; in chapter two, I consider the positions of Peter Kivy, Jenifer Robinson, Harold Fiske, and Nelson Goodman, which represent the view that music can be described nonverbally. ;As a result of the shortcomings of the description theory of musical understanding, in chapter three I defend the alternative view that the basis of musical understanding is a form of musical perception involving musical pattern recognition. I take the position that a perceptual model of musical understanding is better than a description model of musical understanding. ;In the final chapter I consider the concept of musical perceptual-understanding in relation to concepts in musical aesthetics: musical evaluation, musical communication, musical appreciation, and musical enjoyment. The results of the third and last chapters stem from adopting a strategy consisting of the development of various analogies between the experience of language and the experience of music

Links

PhilArchive



    Upload a copy of this work     Papers currently archived: 92,923

External links

  • This entry has no external links. Add one.
Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Similar books and articles

Wittgenstein and the understanding of music.Roger Scruton - 2004 - British Journal of Aesthetics 44 (1):1-9.
Defending musical perdurantism.Ben Caplan & Carl Matheson - 2006 - British Journal of Aesthetics 46 (1):59-69.
Levels and kinds of listeners' musical understanding.Erkki Huovinen - 2008 - British Journal of Aesthetics 48 (3):315-337.
Musical twofoldness.Bence Nanay - 2012 - The Monist 95 (4):607-624.
Piece for the end of time: In defence of musical ontology.Andrew Kania - 2008 - British Journal of Aesthetics 48 (1):65-79.
Music in the moment.Jerrold Levinson - 1997 - Ithaca, N.Y.: Cornell University Press.

Analytics

Added to PP
2015-02-02

Downloads
0

6 months
0

Historical graph of downloads

Sorry, there are not enough data points to plot this chart.
How can I increase my downloads?

Citations of this work

No citations found.

Add more citations

References found in this work

No references found.

Add more references