This article provides a new account of how moral beliefs can be epistemically justified. I argue that we should take seriously the hypothesis that the human mind contains emotion-enriched moral perceptions, i.e. perceptual experiences as of moral properties, arising from cognitive penetration by emotions. Further, I argue that if this hypothesis is true, then such perceptual experiences can provide regress-stopping justification for moral beliefs. Emotion-enriched moral perceptions do exhibit a kind of epistemic dependence: they can only justify moral beliefs if (...) the emotions from which they arise are themselves justified. However, to have a justified emotion, one only needs (1) to possess some non-moral information and (2) to respond fittingly to this information. Neither (1) nor (2) requires one to possess any justification for moral beliefs antecedently, so emotion-enriched moral perceptions can halt the regress of moral justification. (shrink)

A música pode causar emoções fortes. Como havemos de compreender as respostas afetivas à música? Este artigo apresenta os principais enigmas filosóficos atinentes às emoções musicais. O problema principal diz respeito ao chamado "contágio": os ouvintes percebem a música como sendo expressiva de uma certa emoção (por exemplo, tristeza) e a música suscita neles essa mesma emoção. O contágio é desconcertante, pois entra em conflito com a principal teoria da emoção, de acordo com a qual as emoções são experiências de (...) valores (cognitivismo). Este artigo gira, sobretudo, em torno da apresentação crítica das várias respostas a este desafio ao cognitivismo. Apresenta, também, o paradoxo da música triste, isto é, a questão do motivo pelo qual apreciamos música triste. -/- Music can induce strong emotions. How are we to understand affective responses to music? This article presents the main philosophical puzzles pertaining to musical emotions. The chief problem concerns so-called "contagion": listeners perceive music as expressive of some emotion (say, sadness), and the music elicits the same emotion in them. Contagion is perplexing because it collides with the leading theory of emotion, according to which emotions are experiences of values (cognitivism). This article mostly revolves around the critical presentation of the various responses to this challenge to cognitivism. It also presents the paradox of sad music, i.e. the question of why we enjoy sad music. (shrink)