New York;Oxford University Press (2011)

Abstract
In this chapter, I discuss the kinds of understanding expected of and evinced by skilled listeners, performers, analysts, and composers. I confine the discussion to Western, purely instrumental music, mainly with the classical tradition in mind.[1] And I refer primarily to the Anglophone literature of "analytic" philosophy of music. As will become apparent, my concern is with an analysis that maps what are meant to be familiar aspects of musical experience. I investigate the various understandings expected of an accomplished listener, the performer, the music analyst, and the composer.
Keywords Music Philosophy and aesthetics
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Call number ML3845.D+
ISBN(s) 9780199608775   0199608776
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Citations of this work BETA

The Philosophy of Music.Andrew Kania - 2008 - Stanford Encyclopedia of Philosophy.
The Polysemy View of Pain.Michelle Liu - forthcoming - Mind and Language.
Idealist Origins: 1920s and Before.Martin Davies & Stein Helgeby - 2014 - In Graham Oppy & Nick Trakakis (eds.), History of Philosophy in Australia and New Zealand. Dordrecht, Netherlands: Springer. pp. 15-54.
The Heart of Classical Work-Performance.Andrew Kania - 2022 - British Journal of Aesthetics 62 (1):125-141.

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