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In this paper I address the issue of narrativity in music. The central question is the extent to which pure instrumental music in the classical tradition can or should be understood as narrative, that is, as narrating a story of some kind. I am interested in the varying potential and aptness for narrative construal of different sorts of instrumental music, and in what the content of such narratives might plausibly be thought to be. But ultimately I explore, at greater length, (...) |
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A number of philosophers of music have proved resistant to the idea that song should be considered as a hybrid art that combines language and music. Separately, Levinson in his influential account of hybrid art forms does not admit folk song, even though he does allow nineteenth-century lieder into the hybrid category. Folk songs are sometimes treated as if they are anterior to and therefore ontologically distinct from the more complex songs of Western art music, or even of modern popular (...) |
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In this paper, I critically examine Myles Brand’s criticisms of what he calls the Standard View of the role and value of intercollegiate athletics. According to Brand, the Standard View, held by most faculty members, undervalues college sports and should be replaced by the Integrated View that properly stresses the educational value of participating in athletics. I claim that Brand’s analogical argument has a variety of problems. I show that Brand’s conclusion, derived from his attempt to compare the experiences of (...) |
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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 (...) |
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This essay explores some aspects of the relation between philosophy and music. First, how music can inspire philosophy; second, how philosophy can inspire music. Mathematics as a middle term between music and philosophy, the idea of wholeness in a musical composition or a philosophical text, music as a mode of thought displaying traits such as logic, coherence, and sense—these are some ways in which music and philosophy may be seen to be connected. Also, composers sometimes have explicit recourse to philosophical (...) |
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Philosophical Investigations, Volume 45, Issue 4, Page 490-511, October 2022. |
PhilPapers logo by Andrea Andrews and Meghan Driscoll.
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