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Knowing and Making 1. Obstacles to Knowing The theory of knowledge to be sketched here rejects both absolutism and nihilism, both unique truth and the ... |
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Works of music do not appear to be concrete objects; but they do appear to be created by composers, and abstract objects do not seem to be the kind of things that can be created. In this paper I aim to develop an ontological position that lets us salvage the creativity intuition without either adopting an ontology of created abstracta or identifying musical works with concreta. I will argue that there are no musical works in our ontology, but nevertheless the (...) |
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Philosophy Compass, Volume 1. Oxford: Blackwell, 2006. |
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The ontological status of theories themselves has recently re-emerged as a live topic in the philosophy of science. We consider whether a recent approach within the philosophy of art can shed some light on this issue. For many years philosophers of aesthetics have debated a paradox in the (meta)ontology of musical works (e.g. Levinson [1980]). Taken individually, there are good reasons to accept each of the following three propositions: (i) musical works are created; (ii) musical works are abstract objects; (iii) (...) |
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THE VALUE OF SCIENCE INTRODUCTION The search for truth should be the goal of our activities; it is the sole end worthy of them. Doubtless we should first bend our efforts to assuage human suffering, but why ? Not to suffer is a negative ... |
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It has often been claimed, and frequently denied, that music derives some or all of its artistic value from the relation in which it stands to the emotions. This book presents and subjects to critical examination the chief theories about the relationship between the art of music and the emotions. |
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This book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognize? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. The author is both philosopher and musicologist (...) |
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This essay constructs a non-scientific analogy that can help to explain the nature and purpose of Kuhn's philosophical concepts, especially his notion of a scientific "paradigm". The non-scientific topic that is employed to achieve this result is the history of musical styles and the structure of musical compositions. |
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Philosophers of music (and also music theorists) have recognized for a long time that research in the sciences, especially psychology, might have import for their own work. (Langer 1941 and Meyer 1956 are good examples.) However, while scientists had been interested in music as a subject of research (e.g., Helmholtz 1912, Seashore 1938), the discipline known as psychology of music, or more broadly cognitive science of music, came into its own only around 1980 with the publication of several landmark works. (...) |
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