This thesis explores the concept of timbre through the lens of analytic philosophical aesthetics and philosophy of music. I argue that timbre should be thought of as providing the grounds for artistic and aesthetic values in music. To this end and firstly, I critique the physical sense of timbre in favour of two anti-realist senses of timbre. These two are the qualitative and the semantic senses which are developed from two of Siedenburg and McAdams’ four senses (...) of timbre. I argue that the qualitative sense of timbre is the experience of the unique qualities of sounds. The semantic sense is that which associates timbres to objects and concepts. Within the semantic sense, I argue for what I call a genealogical sense of timbre which relates timbres to sources and concepts through a history of built up associations. Secondly, these two senses are situated within the artform of music by demonstrating the functions they may fulfil there and how these ground artistic and aesthetic values. Regarding these values, I employ Robert Stecker’s definitions of artistic and aesthetic value. Finally, I summarise the two arguments for why we should think that timbre can provide grounds for aesthetic and artistic value in music. (shrink)

Moral perceptualism is the view that perceptual experience is attuned to pick up on moral features in our environment, just as it is attuned to pick up on mundane features of an environment like textures, shapes, colors, pitches, and timbres. One important family of views that incorporate moral perception are those of virtue theorists and sensibility theorists. On these views, one central ability of the virtuous agent is her sensitivity to morally relevant features of situations, where this sensitivity is often (...) spoken of in perceptual terms. However, sensibility theorists have often not been careful to specify how to understand their claims about moral sensibilities as perceptual. In this paper, we distinguish between what we call Attentional Moral Perception and Contentful Moral Perception. We argue that sensibility theorists should endorse Attentional Moral Perception, because it has very powerful empirical evidence in its favor, and it can play all of the explanatory roles that the sensibility theorist needs in her theory of moral sensibilities. (shrink)

The contribution of recent theories of sound and audition has been extremely significant for the development of a philosophy of auditory perception; however, none tackle the question of how our consciousness of auditory states arises. My goal is to show how consciousness about our auditory experience gets triggered. I examine a range of auditory mental phenomena to show how we are able to capture qualitative distinctions of auditory sensations. I argue that our consciousness of auditory states consists in having thoughts (...) that organize our experience. Although my proposals could be adapted to fit with other theories of consciousness, here I expand David Rosenthal’s high-order-thought theory and his quality-space theory, and show their usefulness for analyzing our auditory experience. I use quality-space to account for pitch, timbre, loudness, and sound location. I further show that our high-order-thoughts capture qualitative aspects of our auditory sensations. I conclude by demonstrating how a hypothetical listener in possession of a refined vocabulary describes and reports her high-order-thoughts about her musical 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 lieu of an abstract, here is a brief excerpt of the content:diacritics 35.1 (2005) 8-21MuseSearchJournalsThis JournalContents[Access article in PDF]Klossowski's Reading of Nietzsche Impulses, Phantasms, Simulacra, StereotypesDaniel W. SmithIn his writings on Nietzsche, Pierre Klossowski makes use of various concepts—such as intensities, phantasms, simulacra and stereotypes, resemblance and dissemblance, gregariousness and singularity—that have no place in Nietzsche's own oeuvre. These concepts are Klossowski's own creations, his own contributions to thought. Although Klossowski consistently refused to characterize himself as a philosopher ("Je (...) suis une 'maniaque,'" he once said, "Un point, c'est tout!"),1 his work in its entirety was marked by an extraordinary conceptual creation. From this point of view, his Nietzsche and the Vicious Circle can be read as a work in philosophy—at least in the idiosyncratic sense given to this term by Gilles Deleuze, who defined philosophy as the creation or invention of concepts [Deleuze and Guattari 2]. No doubt, Klossowski remains an almost unclassifiable figure—philosopher, novelist, essayist, translator, artist—and attempting to analyze his work through the prism of philosophy may seem to be a reductive approach that belies the complexity of his exceptional oeuvre. Reading Klossowski as a conceptual innovator, however, at least has the advantage of allowing us to chart a consistent trajectory through his difficult and often labyrinthine text, without denying its other dimensions (affective, perceptive, literary, and so on). In what follows, then, I would like to examine three of Klossowski's most characteristic and important concepts—impulses and their intensities, phantasms, and simulacra and their stereotypes—as well as the precise interrelations he establishes among them. Taken together, these three concepts describe what Klossowski terms the tripartite economy of soul, which constitutes the implicit model through which he interprets Nietzsche's thought.1Impulses as Fluctuating IntensitiesKlossowski describes his books on both Nietzsche and Sade as "essays devoted not to ideologies but to the physiognomies of problematic thinkers who differ greatly from each other" ["Postface" 137, emphasis added]. This emphasis on the "physiognomy" of thinkers reflects Nietzsche's insistence on taking the body rather than the mind as a guide for philosophy since the body is a more accessible phenomenon, less surrounded by myth and superstition. "The body and physiology as the starting point," Nietzsche wrote. "Why?... The phenomenon of the body is the richer, clearer, more tangible [End Page 8] phenomenon.... Belief in the body is more fundamental than belief in the soul" [WP §§492, 489, 491]. Klossowski himself, however, when writing of the intensive status of the impulses, frequently makes use of the term "soul" (âme), owing in part, no doubt, to his interest in the theological literature of the mystics, such as Meister Eckhardt and Teresa of Avila. For the mystics, the depth of the soul is something irreducible and uncreated: it eludes the exercise of the created intellect, and can only be grasped negatively.2 Nonetheless, if one can find a similar apophaticism (or "negative theology") in Klossowski, it is related exclusively to the immanent and chaotic movements of the soul's intensive affects, and not to the transcendence of God. What is incommunicable in the soul (or body) are its "impulses"—their fluctuations of intensity, their rises and falls, their manic elations and depressive descents, which are in constant variation.Nietzsche himself had recourse to a highly varied vocabulary to describe what Klossowski summarizes in the term "impulse": "drive" (Triebe), "desire" (Begierden), "instinct" (Instinke), "power" (Mächte), "force" (Kräfte), "impulse" (Reize, Impulse), "passion" (Leidenschaften), "feeling" (Gefülen), "affect" (Affekte), "pathos" (Pathos), and so on.3 Klossowski frequently employs the musical term tonalité to describe these states of the soul's fluctuating intensities—their diverse tones, timbres, and changing amplitudes—which can take on various forms ("aggressiveness, tolerance, intimidation, anguish, the need for solitude, the forgetting of oneself" [NVC 6]). At bottom, what these impulses express are what Klossowski calls the "obstinate singularity" of the human soul, which is by nature noncommunicable; they constitute "the unexchangeable depth" (le fond inéchangeable) or "the unintelligible depth" (le fond unintelligible) of the soul. What makes every individual... (shrink)

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. -/- Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by (...) stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music. (shrink)

Everyone agrees that musical works are individuated by essential elements such as tone, harmony, and rhythm. Some argue that timbre or instrumentation can individuate musical works, too. I argue here that there can be a further element of musical works: spatial location. Some works of music are partly constituted by the location and motion of their sound sources. I begin by describing works of spatial music and arguing that they exist. I then consider the implications for the ontology of (...) music. Hardcore formalists cannot allow for spatial music. I argue that two other views, which allow a close relationship between sounds and musical works, can allow for works of spatial music. However, their ability to do so turns on issues in the philosophy of sound. I appeal to work in philosophy of sound to show that music is an art not just of hearing, but of sounds. (shrink)

Crăciunul este un festival anual de comemorare a nașterii lui Isus Hristos, datat în general la 25 decembrie ca o sărbătoare religioasă şi culturală celebrată de miliarde de oameni din întreaga lume. Sărbătoare centrală a anului liturgic creștin, Crăciunul închide sezonul Advent și inițiază cele douăsprezece zile ale Crăciunului, care se încheie după noapte a doisprezecea. Crăciunul este o sărbătoare legală în multe națiuni ale lumii, este sărbătorită cultural de un număr mare de oameni foști sau non-creștini, și este o (...) parte integrantă a sezonului vacanţei de iarnă. Obiceiurile festive, asociate în diferite țări cu Crăciunul, au un amestec și origini de păgânism, pre-creștinism, creştinism, și teme laice. Tradiţiile populare moderne cu ocazia sărbătorii includ oferirea de cadouri, muzică de Crăciun și colinde, schimburi de felicitări de Craciun, sărbători bisericești, mese speciale, precum și afișarea diverselor decoraţiuni de Crăciun, inclusiv pomi de Crăciun, lumini de Crăciun, scene cu Nașterea lui Iisus, ghirlande, coroniţe, vâsc, și ilex. În plus, mai multe personaje strâns legate și de multe ori interschimbabile, cunoscute sub numele de Moș Crăciun, Santa Claus, Moș Nicolae, și Christkind, sunt asociate cu aducerea cadourilor copiilor în timpul sezonului de Crăciun, și au propriul lor set de tradiții și învăţături. Santa Claus (considerat acelaşi cu Moş Crăciun deşi cele două personaje au origini diferite) este o figură mitologică populară asociată adesea cu darurile de Crăciun. Santa Claus se consideră ca fiind rezultatul unei combinaţii între Sf. Nicolae din Mira şi elemente din mitologia nordică păgână şi cea creştină, apariţia sa modernă fiind plasată pe la mijlocul sec. XIX. Deoarece oferirea de cadouri și multe alte aspecte ale festivalului Crăciunului implică activităţi economice sporite atât în rândul creștinilor cât și al ne-creștinilor, sărbătoarea a devenit un eveniment important și o perioadă cheie de vânzări pentru comercianții cu amănuntul și întreprinderi. Impactul economic al Crăciunului este un factor care a crescut în mod constant în ultimele secole, în multe regiuni ale lumii. -/- CUPRINS: -/- Crăciunul - Naşterea lui Iisus Hristos - Istoria - - Relația cu festivitățile concurente - - Alegerea datei de 25 decembrie - - Evul Mediu - - Secolul 20 - Tradiții - - Decorațiuni - - Muzica și colinde - - Bucătăria tradițională - - Felicitări - - Timbre comemorative - - Oferirea de cadouri - Data - - Utilizarea calendarului iulian - - Datele Crăciunului - Economie - Controverse Perioada Crăciunului - Buna Vestire - - Manuscrisul 4Q246 - - Tradiţii orientale - - Sărbătoarea - Bethleem - Postul Crăciunului - - Tradiții - - - Culori liturgice - - - Muzica - - - Postul - - - Tradiții populare - - Patru duminici și lumânări - Calendarul de Advent - Botezul Domnului (Boboteaza, Epifania sau Teofania) Personaje de Crăciun - Sfântul Nicolae - - Relicvele Sf. Nicolae - - Mituri şi legende - - Ziua Sf. Nicolae - Moș Crăciun - - Aspect - - Activități - - Fuziunea cu Santa Claus - - - Aparițiile în public - Santa Claus - Moş Gerilă Tradiţii de Crăciun - Variații geografice - - Africa - Obiceiuri de Crăciun - Sărbătorile de iarnă - - Istoria - - - Saturnaliile romane - - - Adopția creștină - - - Secularizare si comercializare - Sărbători legate de Crăciun - Oceania - - Australia - America de Nord - - Canada - - - Alberta - - - British Columbia - - - Manitoba - - - New Brunswick - - - Ontario - - - Quebec - - Statele Unite - - - California - - - Connecticut - - - Florida - - - Illinois - - - Indiana - - - Kentucky - - - Maryland - - - Massachusetts - - - Michigan - - - Minnesota - - - Missouri - - - New Jersey - - - New York - - - Ohio - - - Oregon - - - Pennsylvania - - - Tennessee - - - Texas - - - Virginia - - - Wisconsin - Urări de sărbători în diverse limbi - - Urări de sărbători în diferite limbi şi ocazii - Bebinca - - Tipuri de bibingka - - Cea mai lungă bibingka Decorațiuni de Crăciun - Pomul de Crăciun - Plante - În aer liber - Alte decorațiuni - Perioada - Pomul de Crăciun - Flori de Crăciun - - America De Nord - - - Poinsetia - - - Cactusul de Craciun - - - Spânzul - - Noua Zeelandă - - Europa - - - Ilex - - - Iedera - - - Vâsc Afaceri de Crăciun - Perioada pregătitoare înaintea Crăciunului - Conturile de Crăciun - Începutul perioadei sărbătorilor - - Vânzările de Crăciun - - Statele Unite - În timpul sărbătorilor de iarnă - - Târgurile de Crăciun - - Indicele prețurilor de Crăciun - La final de sărbători - - Statele Unite - Ziua de Crăciun - - Legea comercială a Zilei de Crăciun din 2004 - Proteste - - Nu cumpăra nimic de Crăciun - - Ziua fără nicio cumpărătură Crăciunul în artă - Filmele de Crăciun - - Categorii - Muzica de Crăciun - - Cantec de Craciun - Romane despre Crăciun - Pluguşorul Diverse - Ajută pomul de Crăciun să reziste mai mult - - Ingrediente: - - Preparare - - Sfaturi Anul Nou - Povestea Anului Nou şi a Revelionului - Sărbătorirea Anului Nou şi Revelionul în diferite ţări . 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El texto se compone de cuatro capı́tulos en los que la autora va degustando el concepto de placer desde sus formas más simples e inmediatas, hasta que pronto sorprende con gradaciones que preparan un recorrido temporal en cuyos parajes va deslindando relaciones entre el sentimiento y sensación de placer, y sus distintos modos de ser, con otros sentimientos, como la fruición, el goce, el gusto; el dolor y el miedo; la angustia, el aburrimiento, la indignación. La filósofa transeúnte continúa su (...) trayecto y entra en diálogo con pensadores/as que han trabajado desde algún ángulo el sentir del placer o que se han desenvuelto en esta materia dejando sus huellas. Son pensadores/as de distintas épocas que trabajan distintas problemáticas y que se enmarcan en la tradición; digamos que desde Platón a Luce Irigaray ya avistamos toda una paleta de timbres y colores que influyeron en la reflexión final que Valentina nos proporciona y que justamente en estos tiempos recomendamos sopesar. (shrink)