What is artistic style? In the literature one answer to this question has proved influential: the view that artistic style is the expression of personality. In what follows we elaborate upon and evaluatively compare the two most plausible versions of this view with a new proposal—that style is the expression of the artist’s ideals for her art. We proceed by comparing the views’ answers to certain questions we think a theory of individual artistic style should address: Are there limits on (...) what range of features can figure in a style? Can flaws be stylistic? Are there limits on the range of art forms across which a given style can be exhibited? To what extent is a style a kind of unity, and why? What makes style an artistic achievement? Why do we care about style? By considering the different views' answers to these questions we argue that our proposal is a workable theory of individual style and suggest that it fares better on the whole than both versions of the influential and widely accepted view. (shrink)

In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) the clarifying (...) experience of the dawning of an aspect, which Wittgenstein pictures as the perception of an internal relation. By examining Wittgenstein’s use of “internal relation” from the Tractatus to his later writings, I come to challenge the still prevalent understanding of Wittgenstein’s appeals to grammar as an appeal to something given (e.g., to a set of grammatical rules). Instead, as I argue, Wittgensteinian appeals to grammatical criteria should be understood as modeled by the form of justification found in our conversations about art. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We argue that this thesis (...) is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding, and that it rests on a contested presupposition concerning the conceptual primacy of memory-time. (shrink)

Philosophers of music and psychologists have examined the various ways in which music is capable of arousing emotions in a listener. Among philosophers, opinions diverge as to the different types of music-induced emotions and as to their relevance to music listening. A somewhat neglected question concerns the possibility of developing a general criterion for the artistic relevance of music-induced emotions. In this paper, I will try to formulate such a criterion. In whatever way music may induce emotions and regardless of (...) the sorts of emotion music is taken to arouse, a given emotion will qualify as artistically relevant if and only if it is caused by appropriate listening, it is dependent on features of the piece of music as a work of art and is capable of further directing our attention to such features. (shrink)

Disagreeing with Jerrold Levinson's claim that being conscious of broad-span musical form is not essential to understanding music, I will argue that our awareness of musical architecture is significant to achieve comprehension. I will show that the experiential model is not incompatible with the analytic model. My main goal is to show that these two models can be reconciled through the identification of a broader notion of understanding. After accomplishing this reconciliation by means of my new conception, I will close (...) the paper by discussing some reasons to accept an enhancing notion of musical understanding that includes levels and degrees of understanding. /// En desacuerdo con la afirmación de Jerrold Levinson: que ser consciente de la forma musical a gran escala no es esencial para comprender la música, sostendré que nuestra conciencia de la estructura musical es significante para alcanzar comprensión. Mostraré que el modelo experiencial no es incompatible con el modelo analítico y que ambos pueden ser reconciliados mediante una noción de comprensión más amplia. Después de llevar a cabo está reconciliación mediante la nueva concepción que propongo, concluiré discutiendo algunas razones para aceptar una noción de comprensión musical enriquecida que incluye niveles y grados de comprensión. (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)

This essay addresses the collapse/incoherence problem for normative frameworks that contain both fundamental values and rules for promoting those values. The problem is that in some cases, we would bring about more of the fundamental value by violating the framework’s rules than by following them. In such cases, if the framework requires us to follow the rules anyway, then it appears to be incoherent; but if it allows us to make exceptions to the rules, then the framework “collapses” into one (...) that doesn’t make use of rules in the first place. The chapter begins with an examination of happiness and truth as fundamental values in Mill’s work, which lead into parallel versions of the collapse/incoherence problem in ethics and epistemology. It then sets out the collapse problem for rule-consequentialist approaches in ethics, truth-directed accounts of justification in epistemology, and epistemological approaches to argument cogency. The chapter closes with discussion of two potential solutions to the problem. (shrink)

Obwohl es "die Zeit" nicht gibt, ordnet sich doch alles, was wir erleben, zeitlich. Auch die großen Schlagworte unserer Tage betreffen allesamt von zeitlichen Herausforderungen: Nachhaltigkeit, Resilienz, Transformation, Zeitenwende. Dieses Buch handelt davon, was Zeitliches ausmacht, warum sich die Wirklichkeit zeitlich ordnet und was das mit der wechselseitigen Taktung von Ereignissen und Autonomieerfahrungen zu tun hat. Es werden Missverständnisse aufgelöst, indem aufgezeigt wird, inwiefern es "die Zeit" nicht gibt, es oftmals sogar leidvolle bis hin zu pathologischen Konsequenzen mit sich bringt, (...) wenn Zeit als Gegenstand oder Ressource betrachtet wird. Es ist ein Buch über den Vergleich von Abläufen und darüber, was es bedeutet, wenn Ereignisse miteinander im Takt sind, und wie sie durch Wiederholung und Variation Bedeutung gewinnen und damit "intakt" wirken. Musik und vor allem das Hören dienen als Modelle, um diese allgemeinen zeitlichen Struktureigenschaften der Wirklichkeit begrifflich anklingen zu lassen. Darüber hinaus regen Hyperlinks zu konkreten Hörbeispielen dazu an, sich direkt auch auf besondere Erfahrungen von Zeit einzulassen. - Ein Buch für all diejenigen, die Grundlegendes über Zeit nicht nur lesen wollen, sondern sich im Idealfall auch für einen taktvollen Umgang mit Zeit motivieren lassen möchten. (shrink)

The article pays homage to the leading authority of 20th century Hungarian music aesthetics, József Ujfalussy, by connecting his heritage to more recent research on the problems of musical time and notably to the study pursued by Raymond Monelle. Rather than a perennial invariant, Monelle interpreted musical time as a historically changing phenomenon constituting implicitly the basic levels of musical semantics, as they have developed throughout the Baroque, Classical and Romantic eras. The present study focuses on the last of these (...) paradigms, claiming that the Romantic experience of musical time has dominated both the production and the reception of music culture up to this day. The Romantic musical experience is based on a latent ‘framework contract’ between composition and audience, which drives the meanings attached to the experience of musical temporality. This latent agreement warrants a need for conventional compositional forms and simultaneously the insufficiency thereof. (shrink)

Extreme formalism is a radical and important position in the aesthetics of inorganic nature. Zangwill offers a new formulation of what formal aesthetic properties are, according to which a formal aesthetic property of a thing is an aesthetic property that is determined merely by its appearance properties. An appearance property of a thing is the way it seems if perceived under certain conditions. With the notion of formal aesthetic properties formulated as such, extreme formalism, the claim that all aesthetic properties (...) of inorganic things are formal, says that all aesthetic properties of inorganic things are determined merely by their appearance properties. Recently, Zangwill defends extreme formalism by deflecting the famous counter-example of the cumulonimbus cloud given by Budd, and argues for extreme formalism by arguing against the idea of the existence of non-formal beauty in inorganic nature. In this paper, we argue that both his defense and positive arguments are not successful. If our arguments are right, the burden of proof is still on Zangwill’s side. (shrink)

ABSTRACTI defend a non-reductionist view of music, according to which music should be understood in terms of musical beauty. I suggest that general theories of music are legitimate, and I discuss sublimity and argue that it is a species of beauty. Musical experience is the experience of aesthetic properties of that are realized in sounds. Sometimes, when we are fortunate, this experience generates pleasure in musical beauty. As Hanslick rightly insisted, there is no way to begin to understand what music (...) is, or to understand its value and why we value it, without putting musical beauty in the foreground and celebrating our experience of it. This positive position has negative consequences. Musical appreciation does not require pathologies of emotion, spurious political narratives, intimations of religious profundity and so on. The value is in the sounds. It is an immanent value, not a transcendent one. It is a this-worldly value, not an other-worldly delusion, or something self-indulgently in us. Musical beauty is there in the sounds, in “tones and their artistic combination,” as Hanslick maintained. (shrink)

Kann Peter Kivys Theorie eines musikalischen Platonismus auch auf den Song "Rockstar" des deutschen Rappers Cro befriedigend, das heisst ohne Änderungen an der Theorie vornehmen zu müssen, angewendet werden, oder muss der musikal- historische Kontext mitberücksichtigt werden?

The present study is a theoretical discussion concerning some of the important processes that characterize human perception, which is understood as a fundamental structure of consciousness. The aim is to acquire new insights for a better comprehension of the human experience in the world and the way individual subjects become familiar with their environment. To accomplish this task, the experience of listening to music is analysed due to the widespread acceptance of music as an important aspect of human life. With (...) reference to a various research studies and hypothesis focused on the way listeners understand music, principles of perceptual organization which allow immediate awareness of music are investigated. Particular attention is given to studies in the field of music perception and cognition. Through an analysis of the main mental processes involved, the goal is to describe several relevant aspects of how listeners understand music at the perceptual level and constitute musical meanings in a subjective manner. This constitution results in a listener’s ability to become immediately aware of their auditory experience as having a specific meaning – that of being, first of all, a musical experience. Focusing on everyday experience and exposure to music, expectation and anticipation are presented as fundamental principles that contribute to the knowledge of the auditory environment and the meaning which acoustic events acquire for a subject. An in-depth analysis of their specific features will show the different influence expectation and anticipation have on a listener’s basic perceptual comprehension of music and in the constitution of musical meanings that are subjectively characterized. Within the framework of a theoretical investigation into human processes of musical knowledge acquisition, the additional objective is to create a dialogue between empirical research results in the field of music cognition and phenomenological descriptions of the structures of human consciousness. In particular, through clarification of the specific terminology that characterizes these two fields of research, the intent is to go beyond the historical gap which has existed between them. This combination of perspectives may increase our understanding of the way human beings know the world and learn how to react to the events which they encounter. (shrink)

In his Art and Knowledge, the distinguished Canadian philosopher of art, James O. Young, takes on the daunting task of defending his opening claim that ‘every item properly classified as a work of art can contribute to human knowledge’. His assertion is a general one, intended to apply to any and every prospective artwork, not merely to sub-genres like the moral novel or the ‘Shock-Headed Peter’ school of didactic bedtime terror-fest. Thus, according to Young, works such as The Well-Tempered Clavier (...) and Vermeer’s Officer and Laughing Girl do not qualify as art unless they can provide knowledge about topics that are important to us as human beings. A work does not become artworthy by inspiring us to meditate, ruminate, or reflect unless the work also leads us to true beliefs that are, in some sense, justified. Furthermore, it’s not enough for a work to provide knowledge about, say, abstruse issues in eighteenth-century counterpoint or the cult of painterly flatness; to count as art, a work must, in some way, supply answers to questions that are important to us as human beings living in the world. Young also argues that artworks have their own method of conveying knowledge. Hence, he buttresses his cognitive definition of art with an epistemology of art. (shrink)