Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga (...) Noice. For Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes (AIR) approach?a differently nuanced model of expert skill aligned with the integrative spirit of the Noices? research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance. (shrink)

Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature (...) of music performance advocated by the AIR approach is illustrated by the strategies that JK implements during performance. Through executing these strategies, JK attempts to increase the likelihood of vibe and connection by selectively exercising agency over performance variables within his control. In order to achieve this, JK must engage in ongoing monitoring of his performance, whereby the spotlight of his attention pans across a vast array of disparate performance processes (and levels within these processes) in order to ascertain how he can most effectively meet the specific demands of a given performance situation. It is hoped that future research compiling data from numerous interviews and sources as well as using different research methodologies will further unlock the potential that the AIR approach holds for understanding expert performance. (shrink)

The success of the early music movement has long raised questions about performing historical works: Should musicians perform on period instruments and try to reconstruct the original style? If a historically “authentic” performance is impossible or undesirable, what should be the goal of the early music movement? I turn to Gadamer to answer these questions by constructing the outlines of a hermeneutics of early music performance. In the first half of the paper, I examine Gadamer’s critique of historical (...) reconstruction and argue that this critique sheds light on mistaken tendencies and misunderstandings within the early music movement, but it does not discredit the movement as such. In the second half of the paper, I attempt to show how Gadamer’s dialogical account of historical consciousness provides a framework for understanding what historically informed performance is seeking to accomplish, as well as its advantage over a Nietzschean approach. (shrink)

In recognizing the wide range of sensuous perception and at the same time the originary capacity of aesthetic experience, Mikel Dufrenne has shown us the rich capabilities of phenomenology. It is in that spirit that this essay explores musical performance. Music is a multiple art. Its many traditions, forms, genres, and styles, its large variety of instruments and sounds, and its diverse uses and occasions make it difficult to speak of music as a single art form. There are, (...) nonetheless, certain common characteristics that all musics share in the ordering of successive sounds and silences in movement, pattern, and studied length. And, of course, these sounds and silences must be devised and generated, usually by a person but increasingly by other means, especially electronic. Finally, music has its contexts, the particular occasions when it is produced and heard. Perhaps there is indeed a generic musical art, a common ground where all these disparities come together. (shrink)

Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. (...) We want to engage with the musical expression and rely on visual and physical cues. Considering that the ears of today's listeners are used to technologically mediated music, in this paper I explore the unique qualities of musical live performances and examine if our conception allows for new mechatronic inventions, in particular robotic musicians, to participate in this art form. Some of Godlovitch's main thoughts expounded in his work on "musical performance" [11] serve as a reference and starting point for this investigation. His concept of `personalism', which deprives computer-/program-based musical performances from expressive potential and creative accomplishment is an issue that I want to challenge by pointing out new approaches arising from a reective discourse on technology, embodiment and expression. The enquiry conducted illustrates, how in reasoning about machine performers and algorithmic realization of music, we also examine the perceptual, physical and social aspects of human musicianship, reconceptualizing our understanding of a musical live performance. (shrink)

This paper addresses the following problem: to what extent do ontological considerations about musical works affect our evaluation of performances of those works? I argue for the claim that at least some important grounds on which performances are evaluated are specific to them, in that these grounds are either independent from, or related but not fully determined by, the properties of the works they are of. In the first part of the paper, I explore the relations between good-making features (...) of works and of performances of them. The second and third parts develop two kinds of example in favour of the claim above. In the last part, I discuss the significance of those examples in relation to the ways in which performances are assessed, and explore some further ramifications of them. (shrink)

This paper examines the performance elements in Asu Ekiye’s musical video entitled Back to Base. The study cuts across the use of costume and other theatrical elements to portray various ethnic nationalities as represented in the production. This style of music video production has not been given adequate scholarly attention by researchers. Thus, the paper examines the performance elements in Asu Ekiye’s music video, Back to Base. It is against this backdrop that the content analysis method of (...) investigation is deployed. It adopts comparative analysis investigative approach which appropriates primary and secondary sources. The primary sources are musical video CD of Asu Ekiye. The secondary sources are scholarly materials related to musical performance and theatre. This paper observes that Asu Ekiye’s musical video performance dialogue with performers ranging from lead singers to back-up singers, actors and dancers also involves audience participation and other performance elements. Asu Ekiye’s musical video entitled Back to Base is performed on two different performing areas: the arena stage and the aquatic stage. This paper holds that costumes, dances, and dramatic performances, props and locations are the main strengths and attractions of the music video. It recommends that for music to thrive in Nigeria, a multicultural society, musicians should ensure that their musical productions should be cross cultural and they should deploy variety of performances elements. (shrink)

The concept of twofoldness plays an important role in understanding the aesthetic appreciation of pictures. My claim is that it also plays an important role in understanding the aesthetic appreciation of musical performances. I argue that when we are aesthetically appreciating the performance of a musical work, we are simultaneously attending to both the features of the performed musical work and the features of the token performance we are listening to. This twofold experience explains a (...) number of salient aspects of our experience of musical performances, from the importance of instrumentality, to the multimodal character of this experience. (shrink)

What kind of technology is the piano? It was once a distinctly everyday technology. In the bourgeois home of the nineteenth century it became an emblematic figure of gendered social life, its role shifting between visually pleasing piece of furniture, source of light entertainment, and expression of cultured upbringing. It performed this role unobtrusively, acting as a transparent mediator of social relations. To the composer of concert music it was, and sometimes still is, says Samuel Wilson, like the philosopher’s table: (...) “an assumed background on which one writes.” Like other instruments standard to Western art music, the piano was designed to facilitate the production of a consistent and refined timbre. More than most other such instruments, the piano also facilitated a kind of sonic neutrality. With its wide pitch range and smoothing of the percussive attack of its predecessor instruments, the piano presented composers with a technological means of approaching composition from a seemingly objective vantage point. It exemplified, in Heideggerian terms, the instrumentality of the instrument, serving as a mediator between idea and expression that apparently adds no character of its own. -/- This notion of the invisibility, or transparency, of the mediations that musical technologies such as the piano enact is one of my areas of concern here. So too is its inverse: when these mediations become visible or opaque. Transparency has been a topic of significant recent theoretical attention. Stefanos Geroulanos, for example, has detailed how the supposed transparency of intersubjective, epistemological, and social relations was a major point of critique in postwar French thought, where the supposition of transparency was taken to suppress how the world was “complex, layered, structured, filled with heterogeneity” – and, as I will stress here, contingency. The thinkers Geroulanos considers, from Jean-Paul Sartre through to Jean-François Lyotard, can be said to be united in their refusal to invisibilise mediatedness. From a starting point of conceiving of the piano as a technological artifact, and in particular from John Cage’s ‘prepared piano,’ I will explore how a similar concern has appeared in musical contexts, albeit not without the risk of reversion back into a logic of transparency. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between (...) music and wellbeing, with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

This chapter focuses on the methodological challenges and practical implications of the experimental ontology of music. It offers an overview of the existing research, primarily focusing on how people judge whether two musical performances are of one and the same or two distinct musical works, followed by a discussion of the current methodological debates in this field and, finally, an exploration of its potential legal implications.

Music and language are universal human abilities with many apparent similarities relating to their acoustics, structure, and frequent use in social situations. We might therefore expect them to be understood and processed similarly, and indeed an emerging body of research suggests that this is the case. But the focus has historically been on the individual, looking at the passive listener or the isolated speaker or performer, even though social interaction is the primary site of use for both domains. Nonetheless, an (...) important goal of emerging research is to compare music and language in terms of acoustics and structure, social interaction, and functional origins to develop parallel accounts across the two domains. Indeed, a central aim of both of evolutionary musicology and language evolution research is to understand the adaptive significance or functional origin of human music and language. An influential proposal to emerge in recent years has been referred to as the social bonding hypothesis. Here, within a comparative approach to animal communication systems, I review empirical studies in support of the social bonding hypothesis in humans, non-human primates, songbirds, and various other mammals. In support of this hypothesis, I review six research fields: (i) the functional origins of music; (ii) the functional origins of language; (iii) mechanisms of social synchrony for human social bonding; (iv) language and social bonding in humans; (v) music and social bonding in humans; and (vi) pitch, tone and emotional expression in human speech and music. I conclude that the comparative study of complex vocalizations and behaviors in various extant species can provide important insights into the adaptive function(s) of these traits in these species, as well as offer evidence-based speculations for the existence of “musilanguage” in our primate ancestors, and thus inform our understanding of the biology and evolution of human music and language. (shrink)

Some hold that musical works are fusions of, or coincide with, their performances. But if performances contain wrong notes, won't works inherit that property? We say ‘no’.

There is a popular theory in the metaphysics of time according to which time is one of four similar dimensions that make up a single manifold that is appropriately called spacetime. One consequence of this thesis is that changing an object’s orientation in the manifold does not change its intrinsic features. In this paper I offer a new argument against this popular theory. I claim that an especially good performance of a particularly beautiful piece of music, when oriented within (...) the manifold in the normal way, adds to the intrinsic value of the world, but that if the same performance is turned sideways within the manifold, so that it involves a number of different notes spread out in space and all occurring at the same time, then it does not add the same intrinsic value to the world. (shrink)

Philosophers of music commonly distinguish performative from critical interpretations. I would like to suggest that the distinction between critical and performative interpretations is well captured by an analogy to legal critics and judges. This parallel draws attention to several features of performative interpretation that are typically overlooked, and deemphasizes epistemic problems with performative interpretations that I believe are typically blown out of proportion and ultimately fail to capture interesting features of performative interpretation. There is an important distinction to be made (...) between critical and performative interpretation, but its source lies in a difference between the authority of critical and performative interpretations. (shrink)

Virtue epistemology maintains that epistemic normativity is a kind of performance normativity, according to which evaluating a belief is like evaluating a sport or musical performance. I examine this thesis through the objection that a belief cannot be evaluated as a performance because it is not a performance but a state. I argue that virtue epistemology can be defended on the grounds that we often evaluate a performance through evaluating the result of the (...) class='Hi'>performance. The upshot of my account is that when a belief is evaluated under performance normativity, what we evaluate is not belief, but cognitive performance. My account of virtue epistemology offers a simple explanation of why knowledge is more valuable than true belief. (shrink)

The article examines the ethics of musical interpretation, focusing on the performer’s responsibility in faithfully recreating a work from the score. Drawing inspiration from conductor Daniel Barenboim’s reflections (2016), it analyzes the delicate balance between personal expression and fidelity to the work, highlighting how interpretation involves not only technical skill but also moral responsibility. This notion develops through the importance attributed to history, authenticity, and the present in interpretation. These concepts are explored in the relationship between the score and (...) the performer, addressing the ethical challenges involved in balancing fidelity and creativity. The study of Historically Informed Performance (HIP) demonstrates how it serves as the foundation of the ethics of musical interpretation, due to its attempt to recreate the original conditions of performances. However, it is also noted that HIP embodies an overly rigid fidelity, thus requiring a more balanced approach that views musical practice as an ongoing dialogue between past and present. Finally, since the rules of musical practice are not enough for performers to interpret ethically, as they need to be internalized, the role of Aristotelian phronesis is explored as an internal guide for performers in interpretative practice. Phronesis aids the performer in mediating between past and present and in making interpretative decisions that are both ethically and musically appropriate. (shrink)

The paper addresses the issue of ethical obligations in the performance of musical works in the Western classical tradition, arguing that there are indeed such obligations, although they are not categorical. -/- PT: Na tradição clássica ocidental, as obras de arte musicais, teatrais e, até certo ponto, as coreografias, são criadas por artistas-autores, mas necessitam de ser executadas por intérpretes (instrumentistas, cantores e maestros, actores e encenadores, bailarinos, etc.). Estes são assim chamados porque existe sempre uma dose de (...) descricionariedade, não só nas suas decisões sobre o que as instruções inscritas na notação por parte do autor querem "realmente" dizer, como ainda acerca dos muitos aspectos necessária ou voluntariamente deixados em aberto por ele. Limitando-nos aos casos em que é evidente ou relativamente claro que o autor favorece, directamente ou por via das convenções artísticas por si tacitamente aceites, uma forma de interpretação da sua obra entre outras, debruço-me sobre a questão de saber se, para além das considerações estéticas integrantes da decisão de respeitar total ou parcialmente essa forma, há também considerações especificamente morais que sejam relevantes para tal decisão. Os tratamentos filosóficos desta questão tiveram alguma expressão nos anos 80 e 90, sobretudo a propósito do movimento da interpretação musical historicamente correcta ou informada de obras de épocas com as quais se estava a recuperar o contacto perdido em termos de modos de execução e instrumentos específicos dessas épocas. Curiosamente, contrastando com o debate entre a crítica de arte, o debate filosófico é muito menos vivo numa actualidade marcada pelo ecletismo pós-moderno que, sobretudo no teatro e na ópera, trata mesmo os aspectos mais estruturantes das obras como completamente opcionais, ou as obras elas as próprias como materiais para fusão, reconstrução ou improvisação. Revisitando os argumentos em torno do tópico, defenderei a prevalência da posição segundo a qual há uma dimensão moral nas artes performativas, mas que as obrigações daí resultantes não são todas categóricas, tendo diferentes graus de força, e devem ser entendidas como uma variável que tem de ser, em cada caso, ponderada lado a lado com as considerações estéticas. (shrink)

Country music has not gotten much attention in philosophy. I introduce two philosophical issues that country music raises. First, country music is simple. Some people might think that its simplicity makes country music worse; I argue that simplicity is aesthetically valuable. The second issue is country music’s ideal of authenticity; fans and performers think that country should be real or genuine in a particular way. But country music scholars have debunked the idea that country authenticity gets at anything real; widespread (...) ideas about country authenticity are rooted in a racist and fabricated picture of country music. In discussing these two issues, I highlight the importance of community in country music. (shrink)

I begin by defending Heinrich Gustav Hotho’s foundational edition of the Lectures on Aesthetics (LA) contra Gethmann-Siebert and others who argue for a non-systematic view of Hegel’s aesthetics generally and music specifically. I defend Hegel against the common conceit that his comprehension of music was somehow deficient and introduce the Hegelian idea of absolute agency as performative in art and music. Reference to Kant’s transcendental aesthetics then allows us to grasp how, in Hegel, meaningful tones arise from the vibratory oscillation (...) between selfhood’s presiding unity and its temporal self-positing. I then trace back further elements of musical architecture, such as rhythm, harmony and melody to the temporal oscillation arising from within selfhood. The fundamental ambiguity within temporal oscillation is the source of meaningfulness in music, the feeling that its experience is meaningful without telling us exactly what that meaning is. Meaningfulness forms the absolute Ur-Ton of beautiful music, which arises as determinate tones within selfhood and resonates into the soul of the listener. The temporal vanishing of musical tones within a compositional framework is a pre-linguistic expression of meaning, performative of the ambiguous oscillation between the human and the divine. (shrink)

In this study we offer a new way of applying Kendall Walton’s theory of make-believe to musical experiences in terms of psychologically inhibited games of make-believe, which Walton attributes chiefly to ornamental representations. Reading Walton’s theory somewhat against the grain, and supplementing our discussion with a set of instructive examples, we argue that there is clear theoretical gain in explaining certain important aspects of composition and performance in terms of psychologically inhibited games of make-believe consisting of two interlaced (...) game-worlds. Such complex games can accommodate a continuous rich spectrum of congruent modes of listening, which broaches both the formalist-type and the narrativist-type. We conclude that this sort of oblique reading of Walton’s original theory actually complements and completes Walton’s recent theoretic angle concerning thoughtwriting in music by way of affording it with a suitable conception for a mechanism of appropriation for music. (shrink)

This article addresses the inherently relational nature of musical agency, drawing upon interdisciplinary research. It argues that music does not exist in isolation but within social and emotional contexts shaped by a network of relationships among musicians. These interactions create a collaborative space that transcends mere technical execution, fostering a collective experience enriched by shared sensitivity and emotional engagement. Consequently, musical practice, whether compositional or performative, entails a moral responsibility, particularly challenging the perspectives of Levinas; Bauman; and Wilde, (...) who traditionally separated art from ethics. As outlined in Nielsen and Cobussen’s work “music contributes to a better understanding of one’s place within the world, and thus, to an ethical sensibility”, emphasizing how musical practice cultivates ethical awareness through its relational nature. Music is thus conceived as a moral endeavor, where care extends not only to the music itself but also to the individuals involved in its creation and performance. Moreover, this moral responsibility extends to future generations, as musical tradition is conceived as a temporal bridge linking the past, the present, and the future. The tradition is composed of individuals actively engaged in the practices that shape the tradition or traditions. Musicians bear an intergenerational responsibility toward those who will inherit and reinterpret current practices—a responsibility not grounded in direct reciprocity, but in what Randall describes as “conceptual ties”. The continuity of musical tradition and its aesthetic value depend on the care and responsibility each generation shows toward both the participants and the evolving cultural products of this process. Thus, the discussion elucidates the ethical dimensions of musical agency and practice, particularly in Western classical music, and highlights how our obligations to future generations are intrinsic to the practice itself, thereby contributing to broader debates on intergenerational care ethics. (shrink)

Susanne Langer’s idea of the primary apparition of music involves a dichotomy between two kinds of temporality: ‘felt time’ and ‘clock time’. For Langer, musical time is exclusively felt time, and in this sense, music is ‘time made audible’. However, Langer also postulates a ‘strong suspension thesis’: the swallowing up of clock time in the illusion of felt time. In this essay, we take issue with the ‘strong suspension thesis’, its philosophic foundation and its implications. We argue that this (...) thesis is overstated and misdirecting insofar as it purports to describe what we experience when we hear music with understanding, and that it rests on a contested presupposition concerning the conceptual primacy of memory-time. (shrink)

Stephen Davies taught philosophy at the University of Auckland, Auckland, New Zealand. His research specialty is the philosophy of art. He is a former President of the American Society for Aesthetics. His books include Definitions of Art (Cornell UP, 1991), Musical Meaning and Expression (Cornell UP, 1994), Musical Works and Performances (Clarendon, 2001), Themes in the Philosophy of Music (OUP, 2003), Philosophical Perspectives on Art (OUP, 2007), Musical Understandings and Other Essays on the Philosophy of Music (OUP, (...) 2011), The Artful Species: Aesthetics, Art, and Evolution (OUP, 2012), The Philosophy of Art (Wiley-Blackwell, 2016 second ed.), and Adornment: What Self-decorations Tells Us about Who We Are, (Bloomsbury Academic, 2020). (shrink)

In the year 1900, the German philosopher Carl Stumpf made one of the earliest phonograph recordings to document an example of traditional music. The ensemble he recorded was the Siamese Court Orchestra which was performing in Germany at that time. This led to the establishment of the Berlin Phonogramm-Archiv and the beginning of the extensive recording of world traditional music. While written scores have begun to break traditional music away from its dependence on initiation and apprenticeship, the recording of music (...) has had an even more powerful impact on the role of memory in traditional music. No longer is one required to attend a performance, one can simply listen to a recording. Likewise, one can use recordings and videos to learn a piece without the presence of a teacher and can learn the music of another tradition. To consider the future of traditional music, the transformations created by the externalization of memory needs to be examined. This paper hopes to take a step in this direction. It will first consider the psychology of music developed by Stumpf himself. Especially the opposition between the phenomenological reception of music and it’s tempering by the consciousness which allows for aesthetic experience. It will extend this by considering Alain Daniélou’s reflections on the impact of writing and recording on musical creativity. The externalization of memory and the recording of traditional music, leads to may benefits - we have historical records of beautiful musical performances and traditions, many of which have already been lost - but simultaneously this externalization of memory threatens the very essence of traditional and religious music. Finally, the paper will address these paradoxes by applying Jacques Derrida and Bernard Stiegler’s idea of the ‘pharmacon’, and ‘positive pharmacology’ to understand how to navigate these contradictions which face this externalization of musical memory. (shrink)

This article explores the many offences (e.g. noise pollution, unlicensed performances, and Health and Safety offences) that may be committed by personnel in the music industry and their employers. It also explores the many breaches of Intellectual Property law that may be committed by others against the musician’s rights.

This article addresses the subject of the ekphrastic description of experiencing music. It shows the main differences between ekphrasis and commonly used analysis in music theory and musicology. In approaching the problem of ekphrasis with what is called pure music, I emphasize its ancient understanding, thus differing from Lydia Goehr (2010) and Siglind Bruhn (2000, 2001, 2019). The ekphrastic analysis of the first movement of Arnold Schoenberg’s Six Little Piano Pieces Op. 19 conducted in this article uses the methodology developed (...) by Gottfried Boehm (2014) and Georges Didi-Huberman (2005, 2015, 2017, 2018) in the discipline of art history. This article aims to delineate a new way of researching the art of music, an essential feature of which is the combination of the traditions of analytic philosophy and phenomenology. (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns (...) of inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

How is it possible to perform more than is required? And yet, isn’t that precisely what is required, in order for an interlocking society of human beings to function, develop and evolve? If human beings only did what we were told to do, we would live in complete monotony and enslavement. If human beings did only what we were permitted to do, nothing interesting would ever happen. Although performance has often been limited to the study of isolated artistic forms (...) of expressions (music, visual arts, etc.), it is equally possible to analyze culture, on the whole, as a behaviour-encoding system of rules and regulations, wherein the individual actor’s performative appropriation and reinterpretation of these said (cultural, political, artistic) rules makes possible the culture’s very survival, against all odds and obstacles, over long periods of time, as a “tradition” upheld by a community of rule-followers / rule-breakers. Rules, in a very real sense, are meant to be broken. Rule-breaking, by the same token, is, as it were, legislated within the very law code itself, as its own guarantee of immortality. After all, what law could function for any period of time without undergoing reinterpretation? This is good news both for culture and for the avant garde (the creative individual or collective), because even the strictest of rules creates its own conditions of transgression, and vice versa. The performance of culture through the creative freedom of the transgressive individual – i.e. any individual qua his or her individuality – is the sine qua non for a democratic society of peers. Creativity depends upon structure, and structure depends upon that which breaks its shackles of normativity, by rebirthing structure transgressively. The whole point of interpreters is to make things alright for the reappearance of the “father” (the law code) again. Ironically, then, anarchy is the only guarantee of the rule of law. (shrink)

Music presents itself as a process, a continuation, following through. Musical works and music experience is perceived as development, succession, dialogical reaching out and harmonizing. Not one process but many. Among those various processes that make music the author focuses on a specific process of human development, which occurs during listening as much as during performing music. This is a process of growing and self-realization. In the course of the paper following the processual character of music, author turns to (...) Maurice Merleau-Ponty and Mikel Dufrenne in the phenomenological tradition, to Jerrold Levinson and his understanding of music through a listening moment to moment process and also to Theodor Adorno and his way of explaining music as a process of dialectical development. (shrink)

The main focus of this research is on the phenomenological studies of music from the perspective of the experience of listening to music, with an emphasis on the views of Mikel Dufrenne. This research examines the conditions of musical perception and how phenomenological descriptions of musical experiences play a role in understanding our objective experiences. To answer this question, which is the main goal of the research, with a descriptive-analytical method and a phenomenological approach based on Mikel Dufrenne's (...) point of view, an attempt is made to explain the applications of phenomenology in describing and clarifying the experience of listening to music. Dufrenne considers three stages for aesthetic perception: 1) presence; 2) representation and imagination; and 3) reflection and feeling. According to him, the process of perception is an evolving dialectical process. For this perception, the audience must be active to reach the depth of the aesthetic object and its expression. He concludes that the peak of aesthetic perception is found in the feeling that reveals the way the work is expressed. The findings of this research show that in a phenomenological view, encountering a work of art occurs in the conscious process of recognizing the work, experiencing the work in time and place, the process of execution, and the process of inner development. Although prominent in Dufrenne's account of aesthetic experience in general, it specifically describes the encounter with music as a process of change and development. It also results that in the experience of listening to music, our usual experiences of understanding time and place, body and feeling, and personal and social experience are transformed, and the listener becomes an active participant in this process. Such an experience can not only increase our understanding of performance and theoretical understanding of music but also make the receivers discover not only the work of art but also the process of self-development. (shrink)

Ancient Chinese and Greek thinkers alike were preoccupied with the moral value of music; they distinguished between good and bad music by looking at the music’s effect on moral character. The idea can be understood in terms of two closely related questions. Does music have the power to affect the ethical character of either listener or performer? If it does, is it better as music for doing so? I argue that an affirmative answers to both questions are more plausible than (...) it might seem at first. (shrink)

Aaron Ridley posed the question of whether results in the ontology of musical works would have implications for judgements about the interpretation, meaning or aesthetic value of musical works and performances. His arguments for the conclusion that the ontology of musical works have no aesthetic consequences are unsuccessful, but he is right in thinking (in opposition to Andrew Kania and others) that ontological judgements have no aesthetic consequences. The key to demonstrating this conclusion is the recognition that (...) ontological judgments are a priori and aesthetic judgments are empirical. A priori judgements have no empirical consequences. Neither fundamental ontology of music nor higher- order ontological reflections have any aesthetic consequences. (shrink)

It is difficult to place jazz within a philosophy of music dominated by the concepts and practices of classical music. One key puzzle concerns the nature and role, if any, of musical works in jazz. I briefly describe the debate between those who deny that there are musical works in jazz (Kania) and those who affirm that there are such (Dodd and others). I argue that musical works are performed in jazz but that jazz performance of (...) works is very different from performance of classical music works. The first step toward resolving the puzzle is to embrace the descriptive concept of a musical work and reject inappropriate normative concepts of a musical work. In particular, I argue against the accounts of musical works by Kania and Goehr, each of which implies a no-works thesis for jazz performance. I contrast the norms governing work performance in classical music with the practices governing performances of works in jazz, which I call realization or staging. Finally, I propose a model of jazz appreciation that incorporates a role for jazz works and that differs from the appreciation of classical music. (shrink)

How do concert pianists commit to memory the structure of a piece of music like Bach’s Italian Concerto, learning it well enough to remember it in the highly charged setting of a crowded performance venue, yet remaining open to the freshness of expression of the moment? Playing to this audience, in this state, now, requires openness to specificity, to interpretation, a working dynamicism that mere rote learning will not provide. Chaffin, Imreh and Crawford’s innovative and detailed research suggests that (...) the key to this skill is a declarative mental roadmap aiding musical performance. This hypothesis is neatly and unintentionally summarized by professional pianist Imreh, who states when learning a new piece of music “My fingers were playing the notes just fine. The practice I needed was in my head. I had to learn to keep track of where I was. It was a matter of learning exactly what I needed to be thinking of as I played, and at exactly what point. (shrink)

In order to enhance music education courses, the study's primary goal is to evaluate students' academic performance in music at Visayas State University (VSU). It specifically sought to establish the respondents' age, gender, educational attainment, and demographic profile. It also aimed to determine the students’ academic success in music and provide suggestions to enhance the curriculum at the Visayas State University. In the demographic profile of the respondents in terms of age, the students dominate the younger generation wherein they (...) belong to the age bracket of 16-20 years old. 75% of the participants were females, which reflected the majority of the population. Most of the students only got average grades. The weak background and foundation are due to less time given to music in MAPEH as a subject. Thus, they just encountered proper music education upon reaching the tertiary level hence, lacking the basic skills necessary for them to learn and appreciate the course then and obtain higher grades. (shrink)

The issue of musical identity—of what defines works of music, gives each its unique character and distinguishes them from one another—is one of the central issues in the philosophy of music. Too often in the philosophical literature it is approached as a purely theoretical question, one that can be answered adequately through careful intellectual consideration of scores and performances. The typical philosophical approach to the performance of Western art music, particularly that composed between the Baroque and Romantic eras, (...) is to offer descriptions of how musical works come into being, what their origins may be, which of their structural and aesthetic elements must be observed and conserved in their representations, and so on. It takes the written notation of a musical work, the score, to be a kind of blueprint created by a composer, defining and describing an autonomous musical entity, the musical work, such that another person might perform it. The work is recognized paradoxically as something existing independently of, yet deriving its identity from, its origins with the composer. (shrink)

The paper deals with the approaches to researching music from the scientific perspective. It is argued that the scientific literature concerning music contains two different methodological approaches which significantly determine the range of possible conclusions to be reached by the research. The approach „from the outside“ investigates music by automatically applying to music the more general conclusions concerning human cognition and other capacities and behaviors. Thus, this approach omits music’s internal factors. In contrast, the approach „from within“ consists in empirically (...) investigating reactions to music, capacities necessary for its understanding, performing, etc., and their relationships with the reactions and capacities outside the domain of music. The paper shows that, even though the scientific research of music is still in the beginning stage, the approach from within enables more complete explanations concerning music, due to taking into account a larger number of factors relevant for philosophical understanding of the phenomenon of music. (shrink)

Although contemporary Western culture and criticism has usually valued composition over improvisation and placed the authority of a musical work with the written text rather than the performer, this essay posits these divisions as too facile to articulate the complex dynamics of making music in any genre or form. Rather it insists that music should be understood as pieces that are created with specific intentions by composers but which possess possibilities of interpretation that can only be brought out through (...) performance. (shrink)

This essay investigates the tensions between traditional music and its modern codification as intellectual property. It will begin by considering the myths concerning the divine source of music. In traditional music and in folk music, music is closely connected to religious ritual. In these rituals the source of the music is recognized and attributed to certain deities. For instance, in Thai traditional music, the Wai Khru ceremony venerates the Duriyathep or devatas drawn from Indian mythology: Phra Visawakarm, Phra Panjasinghkorn, and (...) Phra Parakhonthap (Narot). Much of modern and contemporary music has long been disengaged from ritual and its traditional forms of transmission. Especially since the nineteenth century with the growth of popularity of music printing, it has been subject to copyright law. With these restrictions in transmission, the more fluid routes of transmission have become broken and the ritualistic and religious identifications have been transferred to the cult of performers, to legal codification, to the control of corporations, and the construction of new mythologies through marketing. This essay will use Walter Benjamin’s reflections on the loss of “aura” in the reproduced work of art to try to understand the consequences of this transition in the function of music. And it will consider the situation in Thailand where traditional music and mythology stands side by side with marketed music, and traditional performance stands side by side with commercial performance. It will demonstrate that these conflicts cannot be resolved. But it is precisely in the appreciation and preservation of these conflicts, that traditional culture can itself be recognized and preserved. (shrink)

When beginning to think about the relation between experimental music and the thought of Gilles Deleuze, this quotation seems to be a natural starting point. In Deleuze and Guattari’s affirmation of this phrase from John Cage they suggest a resonance between music and philosophy: in both fields the experimental approach entails a dismantling of predetermining codes and hierarchies, and with this arises the opportunity for an open-endedness that accommodates singular events and encounters. This understanding of experimentation, however, is not as (...) transparent as it seems. In the context of the uptake and critique of Deleuzian ideas in the theorisation of music and sound, as well as recent re-evaluations of the milieu of “experimental music,” critics have argued that a range of normative demands, ideological assumptions, and metaphysical reductions undermine the purported freedoms of both Cagean and Deleuzian experimentalism. -/- Here I can only deal with a small aspect of the wide historical and theoretical problem this involves; but in short my aim is to begin to construct a means through which Deleuze and Guattari’s thought can be used to help us examine some strategies that composers and performers in post-Cagean musical experimentalism developed to navigate around the demands, assumptions, and reductions of Cage’s thought. (shrink)

Resumen: En La actualidad de lo bello, Gadamer hace una referencia reveladora a la improvisación musical y a la importancia de la escucha musical, además de poner en primer plano la necesidad de justificación del arte. Situando este debate a través de Goethe y Platón, junto con las Lecciones de Estética de Adorno de finales de la década de 1950 y una discusión sobre Nietzsche y la Antigüedad, es posible establecer que lo que está en juego es la (...) afinación, así como una tensión que invita a un debate ulterior tanto sobre la detención del amante en Carson como el demorarse en Heidegger. Al revisar la hermenéutica gadameriana de la programación y la interpretación musical, incluida la improvisación y el desafío de la nueva música, las reflexiones de Gadamer sobre la cultura musical en el contexto de la cultura social y su reflexión no solo pueden ser leídas a través de Platón y Goethe, sino también a partir de las concepciones de "lo bello" en Hölderlin y Rilke. Se trata de una "conversación" cultural en la que la contribución del público puede estar en tensión con la programación musical progresiva, además de la dinámica de respuesta que surge en la energeia de la improvisación tanto para el intérprete como para el oyente.// Abstract: Gadamer’s On the Relevance of the Beautiful makes telling reference to musi-cal improvisation and the importance of musical listening in addition to fore-grounding the need for justification. Situating this discussion via Goethe and Plato along with Adorno’s late 1950s lectures on Aesthetics together with a discussion of Nietzsche and antiquity, what is at stake is attunement and a tension which invites a discussion of Carson on the lover’s arrest and Heidegger on tarrying. By reviewing Gadamer’s hermeneutic of musical pro-gramming and performance, including improvisation and the challenge of new music, Gadamer may be read on music culture in the context of social culture and his reflection not only via Plato and Goethe but Hölderlin and Rilke on ‘the beautiful.’ At work is a cultural ‘conversation’ where audience input can be in tension with progressive musical programing along with the dynamic of response emergent in the energeia of improvisation for performer and listener. (shrink)

This paper investigates the recurrent music ban on musical video broadcasting and the issues of quality of musical contents that have warranted such a phenomenon by the National Broadcasting Commission in Nigeria. The major contention was the justification or otherwise of the ban. The paper employed observational and analytical methodologies to examine the causes of the bans on musical videos in Nigeria by NBC, the reactions of the affected artistes and their fans and the negative effects of (...) erotic lyrics, nudity and suggestive dance steps by minors, ladydancers and the musicians on the youths and other categories of musical video audiences. The paper submits that the NBC’s gestures are commendable and should be sustained while quality assurance efforts should be intensified through promotion of quality musical videos produced more for the purpose of entertainment than education or information. The paper also calls for collaborative efforts among all stakeholders in the music industry to achieve quality in the musical videos produced for general public consumption. This paper encourages musicians to invite creativity into the musical industry in Nigeria by coming out with songs and performances that reflect the cultural values of the country rather than mere entertainment songs and acts that have a greater tendency to corrupt younger minds. (shrink)

Christy Mag Uidhir has recently argued (a) that there is no in principle aesthetic difference between a live performance and a recording of that performance, and (b) that the proper aesthetic object is a type which is instantiated by the performance and potentially repeatable when recordings are played back. This paper considers several objections to (a) and finds them lacking. I then consider improvised music, a subject that Mag Uidhir explicitly brackets in his discussion. Improvisation reveals problems (...) with (b), because the performance-event and the performance-type are distinct but equally proper aesthetic objects. (shrink)

Simon Høffding’s book A Phenomenology of Musical Absorption (2019) contributes to a growing field of research focusing on the artist’s and performer’s experience, as significant for philosophical understanding of on the one hand expertise and skill-formation, on the other art and artistic practice. Høffding’s work is based on a qualitative study of the world-famous ensemble The Danish String Quartet, and has two purposes according to the author: first, to answer a question that arises when confronted with expert musicians’ descriptions (...) of their experiences: “Who is playing?” While deeply concentrated – absorbed – during rehearsal or performance, musicians have described the feeling of something else taking over: the body, the fingers, the instrument, the music. What kind of self is present in this experience and what kind of consciousness does the musician have of her own performance and of the musical work that is performed? Second, Høffding presents a phenomenological account of the experiences at issue, that is based on thorough empirical work and analysed with tools from phenomenology and cognitive science. While not mainly concerned with philosophical aesthetics, the musical work itself has an important role to play in answering these two questions. In the book, Høffding shows with wonderful clarity the value of listening to and analysing performers’ depiction of their experience, not only in order to provide a theoretical framework that can account for the particular experiences associated with expertise but also to prompt philosophical understanding of artistic/aesthetic experience, art and creativity. There are, however, certain problems with his account. One is the internal conflict between the idea that absorption can be experienced at any level of music making, and the claim that only professional experts can experience absorption in its stronger form, without giving a clear argument for this differentiation. Another is Høffding’s desire to present his work as a “paradigmatic case”, resulting in a certain lack of generosity vis-à-vis precursors and other scholars, and interpretations that are not always backed up by the interview material. In general, there are a number of unclear references and loose ends, that this reader would have wished to be worked out in detail. This being said, Høffding has uncovered a thought-provoking path that I hope will be continued. (shrink)

Because of its non-representational nature, music has always had familiarity with computational and algorithmic methodologies for automatic composition and performance. Today, AI and computer technology are transforming systems of automatic music production from passive means within musical creative processes into ever more autonomous active collaborators of human musicians. This raises a large number of interrelated questions both about the theoretical problems of artificial musical creativity and about its ethical consequences. Considering two of the most urgent ethical problems (...) of Musical AI (music job replacement and machine musical authorship), we show in this essay the strict dependence of every form of acknowledgment of a moral and legal status to systems of automatic music production from the theoretical account of musical creativity by turns implicitly or explicitly adopted, arguing, on the basis of pragmatic reasons, for the necessity and the desirability of this acknowledgment. (shrink)

This study examines problems related to the representation of music. It constructs the sender/message/perceiver/result model, a prototype broad enough to incorporate a large variety of music and other notation systems, including those having to do with computers. The work defines music notation itself, describes various models for studying the subject--including the binary types prescriptive/descriptive, and symbolic/iconic--and assesses music notation as a contemporary practice. It encompasses a review of the actions and intentions of composers, performers, and audiences, and a consideration of (...) the message and how it is affected by media , reference systems , and meanings. Finally, through an examination of the possibilities of the self acting as a notation system within models posited by feminist and queer theory, I attempt to demonstrate the power of notation to affect other systems and worlds, including the worlds of music, art, and politics. ;The consideration of these topics draws on theories from linguistics, semiotics, structuralism, post-structuralism, cybernetics, and music, as well as the philosophies of John Cage, Jean-Jacques Nattiez, Nelson Goodman, and others. The work examines various languages and applications used to program computers for musical purposes, though this examination does not incorporate programs dedicated exclusively to printing music. Nor does the study focus on non-Western notations, suggestions for reforms of notation, or encyclopedic lists of notation devices. ;The expository writing is augmented by excerpts from material I gathered in numerous interviews. There are separate sections containing interviews of Leonard Meyer, Allan Kaprow, John Cage, Earle Brown, Roger Reynolds, and Heidi von Gunden. There is also a large, partially-annotated bibliography. ;My hope is that an inclusive, interdisciplinary exploration of music notation will be useful in broadening the theoretical and creative boundaries of the field, as well as bridging gaps among musicians using various music technologies, and artists and theorists from diverse fields and perspectives. (shrink)

In this article I address some questions concerning the emerging conjunction of musical research on improvisation and work in the ‘posthumanities’, in particular the theoretical results of the ‘ontological turn’ in the humanities. Engaging with the work of the composer John Cage, and George E. Lewis’s framing of Cage’s performative indeterminacy as a ‘Eurological’ practice that excludes ‘Afrological’ jazz improvisation, I examine how critical discourse on Cage and his conception of sound is relevant to the improvisation-posthumanities conjunction. After discussing (...) some criticisms of ontological and materialist approaches to sound, I consider the Actor-Network Theory (ANT) of Bruno Latour, posed as offering an alternative to these approaches. Following an examination of some limitations to ANT based around the themes of critique and abstraction, I draw from the work of Gilles Deleuze and Georgina Born to suggest that work on improvisation and the posthumanities may be fruitful, but must be part of a pluralistic mode of inquiry that does not reject critique and abstraction, as some work in the posthumanities has done. (shrink)