We often go out to the movies, theater, or ballet, preferring to share the experience with others rather than watch at home alone. We do the same with food and drink, for instance, by going to tasting rooms to sample wines and talk with others. To have these sorts of experiences, we plan, coordinate, and engage in a range of complex social practices. These practices often lead to the formation of audiences, and philosophers since Aristotle have argued that the success (...) of certain art forms depends on audience reactions.1 In addition, many processes of aesthetic education involve individuals learning about aesthetic objects and judgments together. If so, then understanding how groups experience aesthetic objects... (shrink)

Our paradigms of aesthetic value condition the philosophical questions we pose and hope to answer about it. Theories of aesthetic value are typically individualistic, in the sense that the paradigms they are designed to capture, and the questions to which they are offered as answers, center the individual’s engagement with aesthetic value. Here I offer some considerations that suggest that such individualism is a mistake and sketch a communitarian way of posing and answering questions about the nature of aesthetic value.

In ‘Listening to Music Together’, Nick Zangwill offers three arguments which aim to establish that listening to music can never be a joint activity. If any of these arguments were sound, then our experiences of music, qua object of aesthetic attention, would be essentially private. In this paper, I argue that Zangwill’s arguments are unsound and I develop an account of shared musical experience that defends three main conclusions. First, joint listening is not merely possible but a common feature of (...) our socially situated experiences of music. Second, when listening with others our experience of the music and our sense of community with our fellow listeners often reciprocally enhance one another. Third, how deeply and intimately we share a musical experience with others depends upon such factors as our respective backgrounds, interests, and levels of expertise. (shrink)

We argue that friendship is constituted in the practice of narration, not merely identifi ed through psychological or sociological criteria. We show that whether two people have, as Aristotle argues, ‘lived together’ in ‘mutually acknowledged goodwill’ can be determined only through a narrative reconstruction of a shared past. We demonstrate this with a close reading of Thomas Bernhard’s Wittgenstein’s Nephew: A Friendship (1982). We argue that this book provides not only an illustration but also an enactment of the practice of (...) friendship as the urge to redeem—and thus to instantiate—Aristotelian suzên (‘living together’) by means of its telling. (shrink)

Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...) sounds produced by either musicians a on stage, a stereo, or a portable device. This approach is illustrated in recent work by Nick Zangwill. Drawing on essentialist assumptions, Zangwill concludes that properly musical experience is effectively disembodied and radically private. While this seems plausible when we consider the essentialists’ paradigm case, Zangwill’s conclusion seems odd once we consider the wide variety of ways that people experience music. One’s body and social situation seem ineluctably enmeshed within the experience of, e.g., hot jazz played in a nightclub, where listeners bob their heads and dance to the music, cheer on the musicians, and socialize with their fellow concertgoers. The question this paper aims to answer is: should we consider this and similar experiences of music properly “musical”? I maintain that we should. Far from the world of pure music that Zangwill and others relegate properly musical experience, I conclude that our musical experiences are fully enmeshed within the somatic, affective, and interpersonal dimensions of human life. (shrink)