The widely held belief that classical instrumental music has some kind of content - whether it is supposed to be some language-like meaning or some distinctive and possibly untranslatable musical content - is notoriously difficult to defend. One of the probably rather few promising options of analysing our experiences of hearing ‘content in music’ starts with the assumption that we, the listeners of music, endow the heard musical sequences with content. In the paper, I defend this anti-realism concerning musical content (...) by spelling out the idea that due to the operation of our imagination we sometimes, in listening to music, undergo episodes of hearing-as - close relatives of the more familiar episodes of seeing-as. Drawing on Colin McGinn’s analysis of seeing-as, I develop the idea that an episode of hearing-as is a kind of hybrid mental phenomenon, a co-production of our imagination and our ‘plain hearing’ of musical parameters. (shrink)

Is musical practice 'real' - and how is it connected with everyday life? Eva-Maria Houben shows that making music changes as soon as its meaning is not sought in a purpose-oriented production of results, but in performing music as an activity - indeed, as play. Musical practice, Eva-Maria Houben contends, should be understood as open and never finished. Such an emphasis on repetition can free us from perfection, productivity, and purpose, allowing meaning to unfold in specific situations, places, and relationships. (...) Thus understood, musical practice can become a form of life and a reality in its own right. (shrink)