Intuitively, vagueness involves some sort of indeterminacy: if Plato is a borderline case of baldness, then there is no fact of the matter about whether or not he’s bald—he’s neither bald nor not bald. The leading formal treatments of such indeterminacy—three valued logic, supervaluationism, etc.—either fail to validate the classical theorems, or require that various classically valid inference rules be restricted. Here we show how a fully classical, yet indeterminist account of vagueness can be given within natural semantics, an alternative (...) semantics for classical proof theory. The key features of the account are: there is a single notion of truth—definite truth—and a single notion of validity; sentences can be true, false, or undetermined; all classical theorems and all classical inference rule are valid; the sorites argument is unsound; ‘definitely’ is treated as a meta-language predicate; higher-order vagueness is handled via semantic ascent. (shrink)

Summary I outline an approach to the phenomenology of improvised music which takes typification and the development of multi‐ordered phenomenological structures as central. My approach here is firmly in line with classical Husserlian phenomenology, taking the discussion of types in Experience and Judgment (Husserl, 1973) and Brudzińska (2015) as guide. I provide a phenomenological analysis of musical types as they are found in improvisational contexts, focusing on jazz in the 20th century. Styles are higher‐order musical types. Musical types are structures (...) that are temporally “thick,” relying on sedimented typification and knowledge, driving expectations as definitional. In most forms of music (including improvised music), musical styles involve maintaining a balance between confirming expectations and flouting expectations. I show that improvised music has a phenomenal structure which is enriched by the communicative and “ real‐time” nature of improvised music. Improvised music can be seen as an exploration of a possibility space rendered by the juxtaposition of the musical types afforded by a performance environment (instrumentation, harmonic and melodic traditions, etc.). I show that improvisation in music is a multi‐vectoral form of communication. The communication is founded in what Dieter Lohmar calls “non‐linguistic thinking.” The expression is constituted in the results of active and synthesis. The culmination of improvisational exploration of possibility spaces is the precisification and enrichment of styles‐as‐types, while in some cases developing new styles in the process. (shrink)