I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we listen to music with (...) our muscles’. This paper attempts to explicate and defend this claim. First, I discuss enactive approaches to consciousness and cognition generally. Next, I apply an enactive model of perceptual consciousness to the experience of listening to music. To clarify what is at stake, I use Peter Kivy’s ‘enhanced formalism’ as a philosophical foil. I then look at how the animate body shapes musical experience. (shrink)

Experiences of art involve exercise of ordinary cognitive and perceptual capacities but in unique ways. These two features of experiences of art imply the mutual importance of aesthetics and cognitive science. Cognitive science provides empirical and theoretical analysis of the relevant cognitive capacities. Aesthetics thus does well to incorporate cognitive scientific research. Aesthetics also offers philosophical analysis of the uniqueness of the experience of art. Thus, cognitive science does well to incorporate the explanations of aesthetics. This paper explores this general (...) framework of expansionism : a research strategy that suggests that the explanatory goals and resources of both aesthetics and cognitive science should expand to include those of the other. Two relations are considered. First, what is the relation between aesthetics and more traditional cognitive science? Second, what is the relation between aesthetics and new developments in cognitive science that de-emphasize mental representation and emphasize body and action? (shrink)

One standard objection to the view that phenomenal experience is functionally determined is based upon what has come to be called ‘The Absent Qualia Hypothesis’, the idea that there could be a person or a machine that was functionally exactly like us but that felt or consciously experienced nothing at all . Advocates of this hypothesis typically maintain that we can easily imagine possible systems that meet the appropriate functional specifications but that intuitively lack any phenomenal consciousness. Ned Block , (...) for example, asks us to suppose that a billion Chinese people are each given a two-way radio with which to communicate with one another and with an artificial body. The movements of the body are controlled by the radio signals, and the signals themselves are made in accordance with instructions the Chinese people receive from a vast display in the sky which is visible to all of them. The instructions are such that the participating Chinese people together realize whatever programs the functionalist supposes underlie human phenomenal experience. (shrink)

Lerdahl and Jackendoff's Generative Theory of Tonal Music (GTTM) is an important contribution to cognitive science. Jackendoff claims it is a computationalist theory and that the mental representations it postulates are unconscious. Thus GTTM looks to be a kind of cognitive science remote from the folk-psychological. I argue that this picture of GTTM is mistaken: GTTM is at least as much music analysis as cognitive science. Jackendoff's metatheory fails to explain how a listener can tell that a structural description corresponds (...) to the way she hears, how analytically minded listeners can communicate about their hearing, and how a reader of their book can comprehend it. I suggest an alternative construal, on which GTTM's analytical vocabulary functions as a public language and its mental representations are perceptual beliefs. Interesting philosophical problems ensue about knowledge of musical structure and knowledge about what structures one hears. There is a paradox: one wants an analysis to be true to a hearing, yet to be illuminating. Though analysis and hearing coincide in content at an abstract level, they do not coincide in conceptual content. What sort of knowledge then underlies the inference from perceptual to music-analytical representation? I argue that such knowledge is a priori. (shrink)

: I present an argument for the existence of nonconceptual representational content. The argument is compatible with McDowell's defence of conceptualism against those arguments for nonconceptual content that draw upon claims about the fine‐grainedness of experience. I present a case for nonconceptual content that concentrates on the idea that experience can possess representational content that cannot perform the function of conceptual content, namely figure in the subject's reasons for belief and action. This sort of argument for nonconceptual content is best (...) achieved with examples from auditory perception, especially our perception of music. (shrink)

The starting point of the following considerations is a case study concerning the discovery of Halley's comet and the theoretical description of its path. It is shown that the set of objects involved in that system and the time interval during which their paths are observed are determined in a theory dependent way – thereby making use of the very theory later used for that system's theoretical description. Metatheoretical consequences this fact has with respect to the structuralist view of empirical (...) theories are discussed in detail. German Den Ausgangspunkt der folgenden Überlegungen bildet eine Fallstudie, die der Entdeckung und theoretischen Beschreibung des Halleyschen Kometen gewidmet ist. Es wird gezeigt, dass bei diesem System die Menge der involvierten Objekte und die Zeitintervalle, über die sich die Beobachtung der Bahnen dieser Objekte erstreckt, in theorieabhängiger Weise bestimmt werden – und zwar in Abhängigkeit von genau derjenigen Theorie, die anschließend zur theoretischen Beschreibung des Systems eingesetzt wird. Metatheoretische Konsequenzen, die sich aus diesem Umstand insbesondere für das strukturalistische Theorienkonzept ergeben, werden im Detail analysiert. (shrink)

Philosophers of mind have recently sought to establish a theoret- ical use for nonconceptual content. Although there is disagreement about what nonconceptual content is supposed to be, this much is clear. A state with nonconceptual content is mental. Hence, while one may deny that refrigerators and messy rooms have conceptual capacities, their states, as physical and not mental, do not have nonconceptual content. A state with nonconceptual content is also intentional, which is to say that it represents a feature of (...) the world for a subject. It may be tempting to think of qualitative states as having nonconceptual content since they can be experienced by indi- viduals independently of their possession of the requisite concepts, e.g. someone could experience pains, itches or tingles without possessing the concept pain, itch or tingle. But on such a view, one would have to assume that qualitative states are representational since mental states cannot be candidates for nonconceptuality unless they have intentional properties.2. (shrink)

In this paper I show how the way experience presents things to us can be treated without attributing a representational content to experience. The basic claim that experience can present us with more things than the range of things available to us in thought is neutral with respect to the choice between a content account of experience and a naïve content-free account. I show how Meyer's theory of expectations in accounting for our experience of music supports the naïve account. Expectations (...) provide an account of the conditions that enable things to be salient in experience as targets for attention. Expectations do not provide a content to experience. (shrink)

This study examines the philosophical question of how it is possible to appreciate music aesthetically as an expressive art form. First it examines a number of general theories that seek to make sense of expressiveness as a characteristic of music that can be considered relevant to our aesthetic appreciation of the latter. These include accounts that focus on resemblances between music and human behaviour or human feelings, on music's powers of emotional arousal, and on various ways in which music may (...) be imaginatively construed by listeners. It argues that none of these are entirely satisfactory. Then it proposes an alternative account, focusing on what is involved when our appreciation of music as an expressive art is informed by our awareness of it as something that is expressively interpreted in performance. It is claimed that this offers the basis for a better understanding of at least some aspects of expressiveness in music and its relevance to aesthetic appreciation. (shrink)