This is an overview of analytic philosophy of music. It is in five sections, as follows: 1. What Is Music? 2. Musical Ontology 3. Music and the Emotions 4. Understanding Music 5. Music and Value.

This article aims to connect issues in the epistemology of modality with issues in the philosophy of music, exploring how modalizing takes place in the context of musical performance. On the basis of studies of jazz improvisation and of classical music, it is shown that considerations about what is sonically, musically, and agentively possible play an important role for performers in the Western tonal tradition. We give a more systematic sketch of how a modal epistemology for musical performance could be (...) constructed. We argue that it is necessary to adopt a pluralist approach toward the modal epistemology of music. (shrink)

The article presents the conceptual groundwork for an understanding of the essentially improvisational dimension of human rationality. It aims to clarify how we should think about important concepts pertinent to central aspects of human practices, namely, the concepts of improvisation, normativity, habit, and freedom. In order to understand the sense in which human practices are essentially improvisational, it is first necessary to criticize misconceptions about improvisation as lack of preparation and creatio ex nihilo. Second, it is necessary to solve the (...) theoretical problems that derive from misunderstandings concerning the notions of normativity, habit, and freedom – misunderstandings that revolve around the idea that rationality is a form that is developed out of itself and thus works in a way similar to algorithms. One can only make sense of normativity, habit, and freedom if one understands that they all involve conflictual relationships with the world and with others, which in turn enables one to adequately take into account their constitutive connection to improvisation, properly understood. In outlining these conceptual connections, we want to prepare the foundations for an explanation of rational practices as improvisational practices. The article concludes by stating that human rational life is improvisatory because the conditions of human practice arise out of practice itself. (shrink)

In this article, I first consider the metaphysics of musical recordings: their variety, repeatability, and transparency. I then turn to evaluative or aesthetic issues, such as the relative virtues of recordings and live performances, in light of the metaphysical discussion.

This paper discusses mistakes that occur in improvised musical performance. I first develop a couple of distinctions that are useful to understand the varied nature of such mistakes. Particularly, I think that it is important to distinguish mistakes that depend upon formal features of the music, and mistakes that are such in virtue of a failure of the performer’s intentions. Within this latter category, I argue that it is useful to distinguish between two different layers of performance intentions. Subsequently, I (...) discuss the idea that, in improvised performance, mistakes are not merely tolerated but are, in some sense, valuable, showing how the distinction I develop can shed some light on these issues. (shrink)

This paper introduces freely improvised joint actions, a class of joint actions characterized by highly unspecific goals and the unavailability of shared plans. For example, walking together just for the sake of walking together with no specific destination or path in mind provides an ordinary example of FIJAs, along with examples in the arts, e.g., collective free improvisation in music, improv theater, or contact improvisation in dance. We argue that classic philosophical accounts of joint action such as Bratman’s rule them (...) out because the latter require a capacity for planning that is idle in the case of FIJAs. This argument is structurally similar to arguments for minimalist accounts of joint action, and this invites a parallel minimalist account, which we provide in terms of a specific kind of shared intentions that do not require plan states. We further argue that the resulting minimalist account is different in kind from the sort of minimalism suggested by developmental considerations and conclude in favor of a pluralistic minimalism, according to which there are several ways for an account of joint action to be minimal. (shrink)

This article presents a new aesthetic of the improvised jazz solo, an aesthetic grounded in the premise that a solo is an act indivisible from the actor and the context. The solo's context includes the local and large-scale conventions of jazz performance as well as the soloist's other work. The theme on which a solo is based serves not as a “work,” but as part of the solo's stylistic context. Knowledge of this context inheres directly into proper apprehension of the (...) musical surface; it does not constitute a separate plane of appreciation. I begin by examining the improvisational error. This examination supports the position that the solo is an act, not a work. From this position, I detail a new aesthetic of the improvised solo, grounded in the soloist's virtues. In a successful solo, the soloist's actions display a balance of two aesthetic “virtues”: compositional skill and a commitment to the spirit of improvisation. Compositional skill manifests in a solo as coherence. The improvisational spirit manifests as courage, spontaneity, and related qualities. These virtues often come into conflict; each soloist negotiates this conflict differently. (shrink)

In this issue, our contributors demonstrate how art in the city, art “about” the city, art compared to the city, can bring to attention the insidious forces underlying every city’s gleaming, wide-awake veneer.

The practice of architecture takes place in what is aptly called “an architectural practice.” But, in a sense, no architecture takes place there. Unless something outside that practice is built, we merely have plans for architecture, unfulfilled ideas, but nothing that functions or shelters. In this paper, my attempt to show an important connection between improvisation and architecture is about the process of architecture as its execution of a built structure. My idea is to begin with an unheralded example from (...) vernacular architecture, glean from it what I think is improvisational and work with issues I believe are generated from it in order to point out some things about improvisation as well as architecture. That example is the collective of buildings known as the shantytown. The shanty, like the ruin, comes about with “unintentional visual interest” to pervert the phrase of Michael Baxandall, happening as it does without foregrounding concern for architectural beauty or elegance. Philosophical investigations of vernacular architecture are not new, but one where an improvised mode of construction is a serious component of its analysis has largely been passed over. One question I try to answer can put the issue another way: What is the limiting case of improvisation in architecture? (shrink)

In this paper I argue that the relations between musical works, performances, and recordings, are significantly different in the three traditions of Western classical, rock, and jazz music. In classical music the work of art – the enduring primary focus of critical attention – is a piece that receives various different performances. Classical recordings are best conceived of as giving the listener access to performances of works, or perhaps as performances in their own right. In rock, however, recordings are at (...) the centre of the tradition. The work of art in rock is not a piece for performance, but the track itself, as in classical electronic music. Tracks do manifest songs which may be performed live, but these are not the primary focus of critical attention in rock. In jazz, there are no works of art. This is because the primary focus of critical attention in jazz is the performance, and the relation between standard on which the performance is based and the performance itself is too dissimilar from the model of classical work-performance. Jazz recordings, however, like classical recordings, are best thought of as providing access to performances. These ontological issues are important in part because of their implications for evaluation and musical practice. If rock works are ontologically like classical electronic works, then criticism of them should focus not just on their formal harmonic structures, but on their use of timbral and spatial effects. Since classical recordings endure, but live performances do not, performers should ideally take a different attitude to work-interpretation in those two spheres. (shrink)