Music has strong emotional powers. How are we to understand affective responses to music? What does music teach us about emotions? Why are musical emotions important? Despite the rich literature in philosophy and the empirical sciences, particularly psychology and neuroscience, little attention has been paid to integrating these approaches. This extensive review aims to redress this imbalance and establish a mutual dialogue between philosophy and the empirical sciences by presenting the main philosophical puzzles from an affective science perspective. The chief (...) problem is contagion. Sometimes, listeners perceive music as expressing some emotion and this elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotions as experiences of values. This article mostly revolves around the critical presentation of the philosophical solutions to this problem in light of recent developments in emotion theory and affective science. It also highlights practical issues, particularly the role of musical emotions in well-being and health, by tackling the paradox of sad music, i.e., the question of why people enjoy sad music. It thus bridges an important gap between theoretical and real-life issues as well as between philosophical and empirical investigations on affective responses to music. (shrink)

The overall goal of this article is to show that aesthetics plays a major role in a debate at the very center of philosophy. Drawing on the work of David Bell, the article spells out how Kant and Wittgenstein use reflective judgment, epitomized by a judgment of beauty, as a key in their respective solutions to the rule-following problem they share. The more specific goal is to offer a Kantian account of semantic normativity as understood by Wittgenstein. The article argues (...) that Wittgenstein's reason for describing language as a collection of language games is to allow for a perspective that shows those games as internally purposive without any extralinguistic purpose. This perspective also allows for that union of the general rule and its particular application in practice that the original paradox of rule-following is wanting. (shrink)

The Platonic view that art is incapable of providing us with knowledge is sufficiently widely held as to merit a serious attempt at refutation. Once it is acknowledged that there are alternative forms of knowledge other than propositional, then it is possible to establish the truth of the claim that the knowledge which art affords has a value on a par with that provided by other disciplines. Art, it is argued, has a unique potential to provide imaginative insights by reference (...) to which we may understand what it is like to experience and to feel, in ways very different from those with which we may be familiar. It is shown to be instrumental in enabling us to refine our moral concepts as well as in determining what is salient from the moral point of view. As a powerful tool in the education of the emotions, artworks have the power to increase our moral sensitivity and to sharpen our perception of what is required of us inways that are otherwise unobtainable. (shrink)

In this article, I consider whether a suitably stripped-down version of Kant's aesthetic theory could nevertheless provide philosophical foundations for musical formalism. I begin by distinguishing between formalism as a view about the nature of music and formalism as an approach to music criticism, arguing that Kant's aesthetics only rules out the former. Then, using an example from the work of musicologist and composer Edward T. Cone, I isolate the characteristics of formalist music criticism. With this characterization in mind, I (...) conclude by showing that even if Kant's aesthetic theory is reduced to its most fundamental claims, the logic of formalist music criticism precludes its practice within even a kantian perspective. (shrink)