The aim of this paper is to refer basic philosophical approaches to the problem of musical meaning and, on the other hand, to describe some examples of the research on musical meaning found in the field of cognitive neuroscience. By looking at those two approaches together it can be seen that there is still no agreement on how musical meaning should be understood, often due to several methodological problems of which the most important seem to be the possibility of inter-theoretical (...) reduction and application of an accurate theory of explanation. I am suggesting that the application of some form of the mechanistic model of explanation might be found useful for clarifying reductionism-antireductionism dispute concerning musical meaning, and more importantly, for providing some answers for the debate in music-as-language controversy. (shrink)

Traditional views concerning musical meaning, in the field of philosophy, quite often oscillate around the discussion of whether music can transfer meaning (and if so if it happens by a means similar to language). Philosophers have provided a wide range of views – according to some, music has no meaning whatsoever, or if there is any meaning involved, it is only of a formal/structural significance. According to the opposing views, music can contain meaning similarly to language and what is more, (...) sometimes it can be even richer than language, as in music we are – arguably – able to encode “emotional meanings”. In recent years, several approaches – also speculative – to the old philosophical question have been proposed by evolutionary psychologists, one of the most controversial views being that of Stephen Pinker’s famous metaphor for music as “auditory cheesecake”. This anti-adaptationist view has been challenged f. ex. by Geoffrey Miller or Ian Cross. In this chapter, I enlist some main philosophical views on the titular problem and investigate some evolutionary-paradigm-based propositions for its solution, to examine whether – both from explanatory and methodological standpoints – the philosophy of music could gain something from recent developments in evolutionary psychology. (shrink)

In this short paper I critically analyze Marc Leman’s embodied approach to musical meaning and representation, suggesting that its explanatory value is not sufficient in order to be a good alternative for theories encompassing the concept of representation.

Semantic contextualism is often used in order to offer solutions for problems in other branches of philosophy, including epistemology. One of such attempts is epistemic contextualism, according to which the semantic value of the word “knows” changes with the context of its utterance. The aim of this paper is to critically investigate Keith DeRose’s contextualism to see up to what extent does it provide a valid anti-sceptical strategy. I argue that while it can be seen as a good rival for (...) global and Ungerian scepticism, it does not lead to the refutation of other variants of classical scepticism. (shrink)