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  1. Affective Responses to Music: An Affective Science Perspective.Federico Lauria - 2023 - Philosophies 8 (2):16.
    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 (...)
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  • Moral Tuning.JillHalstead Sveinung SundførSivertsen - 2018 - Metaphilosophy 49 (4):435-458.
    Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have seen (...)
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  • Moral Tuning.Sveinung Sundfør Sivertsen, Jill Halstead & Rasmus T. Slaattelid - 2018 - Metaphilosophy 49 (4):435-458.
    Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have seen (...)
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  • Stravinsky and Time.Helen Sills - 2013 - Avant: Trends in Interdisciplinary Studies 4 (3):147-171.
    Stravinsky’s aim of coordinating man and time through music is explored in the context of changes in our understanding of time at the turn of the twentieth century. His growing expertise in the construction of temporalities of differing quality and depth to create a vehicle for greater temporal and spiritual awareness is traced through the early works from Petrushka to Le Sacre du Printemps, and the background to their time qualities explored. At a distance of 100 years some thoughts are (...)
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  • Interpretation and Improvisation: The Judge and the Musician Between Text and Context.Angelo Pio Buffo - 2018 - International Journal for the Semiotics of Law - Revue Internationale de Sémiotique Juridique 31 (2):215-239.
    This paper analyses the paradigms of interpretation and the evolution of the creative processes in music and law. Whether it is matter of a score or a law, the text is reborn through the work of the interpreter who, in dealing with the epistemological problem of the understanding, has to harmonize the purity of the philological reconstruction of the object with the need to actualize its sense. Moving from the creative character of every interpretation—neither the musician can be reduced to (...)
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