Results for 'expression, aesthetics, philosophy of music'

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  1. A Simulation Theory of Musical Expressivity.Tom Cochrane - 2010 - Australasian Journal of Philosophy 88 (2):191-207.
    This paper examines the causal basis of our ability to attribute emotions to music, developing and synthesizing the existing arousal, resemblance and persona theories of musical expressivity to do so. The principal claim is that music hijacks the simulation mechanism of the brain, a mechanism which has evolved to detect one's own and other people's emotions.
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  2. Kant's Expressive Theory of Music.Samantha Matherne - 2014 - Journal of Aesthetics and Art Criticism 72 (2):129-145.
    Several prominent philosophers of art have worried about whether Kant has a coherent theory of music on account of two perceived tensions in his view. First, there appears to be a conflict between his formalist and expressive commitments. Second (and even worse), Kant defends seemingly contradictory claims about music being beautiful and merely agreeable, that is, not beautiful. Against these critics, I show that Kant has a consistent view of music that reconciles these tensions. I argue that, (...)
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  3. Introducing THE PHILOSOPHY OF CREATIVITY.Elliot Samuel Paul & Scott Barry Kaufman - 2014 - In Elliot Samuel Paul & Scott Barry Kaufman (eds.), The Philosophy of Creativity. New York: Oxford University Press. pp. 3-14.
    Creativity pervades human life. It is the mark of individuality, the vehicle of self-expression, and the engine of progress in every human endeavor. It also raises a wealth of neglected and yet evocative philosophical questions: What is the role of consciousness in the creative process? How does the audience for a work for art influence its creation? How can creativity emerge through childhood pretending? Do great works of literature give us insight into human nature? Can a computer program really be (...)
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  4.  44
    A. Schoot, Kivy i Langer o ekspresyjności w muzyce (a translation).Małgorzata A. Szyszkowska - 2016 - Sztuka I Filozofia (Art and Philosophy) 1 (48).
    a translation of A. Schoot "Kivy and Langer on Expressivity in Music".
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  5. Lost in musical translation: A cross-cultural study of musical grammar and its relation to affective expression in two musical idioms between Chennai and Geneva.Constant Bonard - 2018 - In Florian Cova & Sébastien Réhault (eds.), Advances in Experimental Philosophy of Aesthetics. London: Bloomsbury Academic.
    Can music be considered a language of the emotions? The most common view today is that this is nothing but a Romantic cliché. Mainstream philosophy seems to view the claim that 'Music is the language of the emotions' as a slogan that was once vaguely defended by Rousseau, Goethe, or Kant, but that cannot be understood literally when one takes into consideration last century’s theories of language, such as Chomsky's on syntax or Tarski's on semantics (Scruton 1997: (...)
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  6. Wittgenstein on musical depth and our knowledge of humankind.Eran Guter - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Cham: Palgrave-Macmillan. pp. 217-247.
    Wittgenstein’s later remarks on music, those written after his return to Cambridge in 1929 in increasing intensity, frequency, and elaboration, occupy a unique place in the annals of the philosophy of music, which is rarely acknowledged or discussed in the scholarly literature. These remarks reflect and emulate the spirit and subject matter of Romantic thinking about music, but also respond to it critically, while at the same time they interweave into Wittgenstein’s forward thinking about the philosophic (...)
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  7. Sarangadeva’s Philosophy of Music: An Aesthetic Perspective.Anish Chakravarty - 2017 - International Journal of Multidisciplinary Educational Research 6 (6(1)):42-53.
    This paper aims at an analytical explanation of the distinctive nature of music, as it has been formulated in perhaps one of the world's very first works on the subject, namely the ‘Sangeet Ratnakar’ of Pandit Sarangadeva, a 13th century musicologist of India. He, in the first chapter of the work defines music ('sangeet' in Sanskrit and Hindi) as a composite of singing or 'Gita', instrumental music or 'vadan' and dancing or ‘nrittam’. In addition, he also holds (...)
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  8. Country Music and the Problem of Authenticity.Evan Malone - 2023 - British Journal of Aesthetics 63 (1):75-90.
    In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. (...)
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  9.  30
    Philosophy of Musical Relationships: Care Ethics and Moral Responsibility of Musical Agency.Chiara Palazzolo - 2024 - Philosophies 1 (6):1-17.
    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 (...)
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  10. Music between Philosophy and Science: The Applicability of Scientific Results to the Philosophy of Music.Sanja Sreckovic - 2019 - Dissertation, University of Belgrade
    The dissertation discusses the relationship between two approaches to researching music: the empirical approach of experimental psychology and cognitive neuroscience, and the speculative approach of philosophical aesthetics of music. The aim of the dissertation is to determine the relationship between problems, conceptual frameworks, and domains of inquiry of the two approaches. The dissertation should answer whether the philosophical and the empirical approach deal with the same, or at least relatable aspects of music. In particular, it should answer (...)
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  11. Music, Cage's Silence, and Art: An interview with Stephen Davies, PhD.Marcella Georgi & Stephen Davies - 2022 - Stance 15:120-142.
    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 (...)
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  12. Musical Meaning in Between: Ineffability, Atmosphere and Asubjectivity in Musical Experience.Tere Vadén & Juha Torvinen - 2014 - Journal of Aesthetics and Phenomenology 1 (2):209-230.
    ABSTRACTIneffability of musical meaning is a frequent theme in music philosophy. However, talk about musical meaning persists and seems to be not only inherently enjoyable and socially acceptable, but also functionally useful. Relying on a phenomenological account of musical meaning combined with a naturalist explanatory attitude, we argue for a novel explanation of how ineffability is a feature of musical meaning and experience and we show why it cannot be remedied by perfecting language or musico-philosophical study.Musical meaning is (...)
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  13. Musical Feelings And Atonal Music.Elina Packalén - 2005 - Postgraduate Journal of Aesthetics 2 (2):97-104.
    Several recent studies in many different fields have focused on the question of how music can be expressive of such emotions that only sentient beings can feel. In philosophy of music the adherents of cognitivist theories of expressivity (e.g. Davies 2003, Kivy 2002) try to solve this problem by explaining that we hear music as expressive of emotions, because we hear the events and contours of music as resembling the typical ways in which human beings (...)
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  14. The Expressiveness of Music.Sanja Sreckovic - 2015 - Theoria: Beograd 58 (3):19-39.
    The paper deals with the relationship between the art of music and human emotions, in particular, with the feature of musical works designated in aesthetic literature as „expressiveness“. After a short presentation of several main attempts at explaining the expressiveness of music in analytical aesthetics, the author offers a clarification of the conceptual confusion within presented theories, and points out their main difficulties and deficiencies.
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  15. Marxism and the philosophy of music. The Case of Georg Lukacs.Panos Ntouvos - 2023 - Düren: Shaker Verlag.
    The present book is an in-depth study of Lukács’ musical aesthetics and, more specifically, of his essay on music from The Specificity of the Aesthetic (Die Eigenart des Ästhetischen, 1963). Lukács’ problematic in this essay revolves around a central issue in the history of Aesthetics: the problem of mimesis in music. Since the time of Plato and Aristotle music has been regarded as a mimesis (an imitation) of reality. However, this theory of music as mimesis presents (...)
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  16. A Differential Play of Forces. Transcendental Empiricism and Music.Torbjørn Eftestøl - 2023 - Dissertation, Norwegian Academy of Music
    'A Differential Play of Forces' is a study of transcendental empiricism in musical contexts. It presents a reading of Gilles Deleuze and Félix Guattari’s philosophical apparatus and explores how music can be thought of as functioning in the operation Deleuze terms transcendental empiricism. Central to transcendental empiricism is the idea of an encounter with intensive difference and the consequent experience of intensive and virtual forces. The thesis sets out to explore this idea in three interwoven steps. First, it develops (...)
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  17. The Art of Fugue by Johann Sebastian Bach as an artistic expression of the juncture of beyng in Martin Heidegger’s philosophy.Andrzej Krawiec - 2022 - Polish Journal of Aesthetics 64 (1):103-118.
    Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng (...)
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  18. On Evolutionary Explanations of Musical Expressiveness.Matteo Ravasio - 2018 - Evental Aesthetics 7 (1):6-29.
    In this paper, I will examine an evolutionary hypothesis about musical expressiveness first proposed by Peter Kivy. I will first present the hypothesis and explain why I take it to be different from ordinary evolutionary explanations of musical expressiveness. I will then argue that Kivy’s hypothesis is of crucial importance for most available resemblancebased accounts of musical expressiveness. For this reason, it is particularly important to assess its plausibility. After having reviewed the existing literature on the topic, I will list (...)
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  19. Scientific and Aesthetic Understanding: The Case of Musical Exemplification.Ivano Zanzarella - 2021 - Dissertation, Ruhr-Universität Bochum
    Abstract The Greek composer and architect Iannis Xenakis has shown in Formalized Music (1963) how it is possible to compose or describe music and sound by means of probabilistic laws from mathematics, information theory and statistical mechanics. In his theory, scientific concepts and properties such as entropy take on a musical meaning in that they become also properties structurally instantiable by music. Philosophically speaking, this raises many important questions about the relation between science and the arts. One (...)
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  20. Experimental Ontology of Music.Elzė Sigutė Mikalonytė - manuscript
    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.
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  21. The morality of musical imitation in Jean-Jacques Rousseau.Guy Dammann - 2005 - Dissertation, King's College London
    The thesis analyses the relation between Rousseau’s musical writings and elements of his moral, social and linguistic philosophy. In particular, I am concerned to demonstrate: (i.) how the core of Rousseau’s theory of musical imitation is grounded in the same analysis of the nature of man which governs his moral and social philosophy; (ii.) how this grounding does not extend to the stylistic prescriptions the justification of which Rousseau intended his musical writings to offer. The central argument draws (...)
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  22. Expressing aesthetic judgments in context.Isidora Stojanovic - 2016 - Inquiry: An Interdisciplinary Journal of Philosophy 59 (6):663-685.
    Aesthetic judgments are often expressed by means of predicates that, unlike ‘beautiful’ or ‘ugly’, are not primarily aesthetic, or even evaluative, such as ‘intense’ and ‘harrowing’. This paper aims to explain how such adjectives can convey a value-judgment, and one, moreover, whose positive or negative valence depends on the context.
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  23. Gest ekspresyjny jako element estetycznej analizy dzieła muzycznego.Małgorzata A. Szyszkowska - 2003 - Sztuka I Filozofia (Art and Philosophy) (22-23):262-280.
    This paper presents gesture as an element of aesthetic experience of musical work. It focuses on specific dialectics of gesture in musical works as that which is visual or highlighted and at the same that which speaks to the listener. The difficulty in describing what constitute musical expressive gesture is there to guide us. The gesture stands in way of recognizing meaning and providing communication but at the same time that, which speaks to the listener is the most secluded, intimate (...)
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  24. The Moving Mirrors of Music.A. E. Denham - 1999 - Music & Letters 80 (3):411-432.
    'PERHAPS WHAT is inexpressible (what I find mysterious and am not able to express)', wrote Wittgenstein, 'is the background against which whatever I could express has its meaning'. Wittgenstein's remark is a useful reminder to all who attempt to write about the nature and the value of art, for there our powers of expression often seem inadequate to the phenomena we aim to describe. In such cases it is natural to direct attention to the 'background' of aesthetic experience itself. In (...)
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  25.  74
    "Allerhöchste Allgemeinheit" und "genaueste Bestimmtheit" musikalischer Bedeutungen. Ein Versuch, die Paradoxa Felix Mendelssohn-Bartholdys, Arthur Schopenhauers und Susanne Langers aufzulösen.Krzysztof Guczalski - 2003 - International Review of the Aesthetics and Sociology of Music 34 (2):103-126.
    In The World as Will and Representation (Vol. I, Book 3, § 52) by Arthur Schopenhauer we find the following, striking words: It is just this universality that belongs uniquely to music, together with the most precise distinctness, that gives it that high value as the panacea of all our sorrows. (p. 262) Accordingly, music ... is in the highest degree a universal language ... Yet its universality is by no means that empty universality of abstraction, but is (...)
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  26. The Poverty of Musical Ontology.James O. Young - 2014 - Journal of Music and Meaning 13:1-19.
    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 (...)
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  27. The Colors of the Sunrise: Academic Edition.Anthony Skarvelakis - 2020 - NC USA: Glasstree Academic Publishing.
    DOI:10.20850/9781716645440 -/- An amazing exploration of the mind is now possible for everyone. With the Colors of The Sunrise, the first volume of the series The Psychotherapy of Whole: Aesthetics, Philosophy, Humanism, and Cognitive Science the reader has the opportunity to engage with a book that utilizes the methods and structure of self-help, popular science, and expressive therapies books. -/- Science, psychotherapy, philosophy, music, art and digital reality for the first time come together in a book phenomenon (...)
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  28. The Role of Teleological Thinking in Judgments of Persistence of Musical Works.Elzė Sigutė Mikalonytė & Vilius Dranseika - 2022 - Journal of Aesthetics and Art Criticism 80 (1):42-57.
    In his article “The Ontology of Musical Versions: Introducing the Hypothesis of Nested Types,” Nemesio Puy raises a hypothesis that continuity of the purpose is both a necessary and a sufficient condition for musical work’s identity. Puy’s hypothesis is relevant to two topics in cognitive psychology and experimental philosophy. The first topic is the prevalence of teleological reasoning about various objects and its influence on persistence and categorization judgments. The second one is the importance of an artist’s intention in (...)
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  29. Art beyond Morality and Metaphysics: Late Joseon Korean Aesthetics.Hannah H. Kim - 2019 - Journal of Aesthetics and Art Criticism 77 (4):489-498.
    In the history of Chinese philosophy, Mozi calls music a “waste of resources,” considering it an aristocratic extravagance that does not benefit the everyday people. In its defense, Confucians highlight music’s moral and metaphysical qualities, arguing that music aids in moral cultivation and that music’s form mimics the structure of reality. The aim of this paper is to show that Korean philosophers provide yet another reason to think music is important. Music, and art (...)
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  30. The Meaning of Music in Hegel.Jeffrey Reid - 2024 - Journal of Philosophical Research 49.
    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 (...)
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  31. Mad Speculation and Absolute Inhumanism: Lovecraft, Ligotti, and the Weirding of Philosophy.Ben Woodard - 2011 - Continent 1 (1):3-13.
    continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which (...)
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  32. Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.William Day - 2000 - Journal of Aesthetics and Art Criticism 58 (2):99-111.
    This essay presents an approach to understanding improvised music, finding in the work of certain outstanding jazz musicians an emblem of Ralph Waldo Emerson's notion of self-trust and of Stanley Cavell's notion of moral perfectionism. The essay critiques standard efforts to interpret improvised solos as though they were composed, contrasting that approach to one that treats the procedures of improvisation as derived from our everyday actions. It notes several levels of correspondence between our interest in jazz improvisations and the (...)
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  33. (2 other versions)Measure for Measure: Wittgenstein's Critique of the Augustinian Picture of Music.Eran Guter - 2019 - In Hanne Appelqvist (ed.), Wittgenstein and the Limits of Language. New York: Routledge. pp. 245-269.
    This article concerns the distinction between memory-time and information-time, which appeared in Wittgenstein’s middle-period lectures and writings, and its relation to Wittgenstein’s career-long reflection about musical understanding. While the idea of “information-time” entails a public frame of reference typically pertaining to objects which persist in physical time, the idea of pure “memory-time” involves the totality of one’s present memories and expectations that do now provide any way of measuring time-spans. I argue that Wittgenstein’s critique of Augustine notion of pure memory-time (...)
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  34. The aesthetics of country music.John Dyck - 2021 - Philosophy Compass 16 (5):e12729.
    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 (...)
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  35. (2 other versions)Aesthetic Gestures: Elements of a Philosophy of Art in Frege and Wittgenstein.Nikolay Milkov - 2019 - In Shyam Wuppuluri & Newton da Costa (eds.), Wittgensteinian : Looking at the World From the Viewpoint of Wittgenstein's Philosophy. Springer Verlag. pp. 506-18.
    Gottlob Frege’s conception of works of art has received scant notice in the literature. This is a pity since, as this paper undertakes to reveal, his innovative philosophy of language motivated a theoretically and historically consequential, yet unaccountably marginalized Wittgenstinian line of inquiry in the domain of aesthetics. The element of Frege’s approach that most clearly inspired this development is the idea that only complete sentences articulate thoughts and that what sentences in works of drama and literary art express (...)
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  36. Thinking Through Music: Wittgenstein’s Use of Musical Notation.Eran Guter & Inbal Guter - 2023 - Journal of Aesthetics and Art Criticism 81 (3):348-362.
    Wittgenstein composed five original musical fragments during his transitional middle period, in which he employs musical notation as a means by which to convey his philosophical thoughts. This is an overlooked aspect of the importance of aesthetics, and musical thinking in particular, in the development of Wittgenstein’s philosophy. We explain and evaluate the way the music interlinks with Wittgenstein’s philosophical thoughts. We show the direct relation of these musical examples as precursors to some of Wittgenstein’s most celebrated ideas (...)
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  37. Language of Emotions, Peacock’s Tail or Auditory Cheesecake? Musical Meaning: Philosophy vs. Evolutionary Psychology.Tomasz Szubart - 2019 - In Andrej Démuth (ed.), Cognitive Rethinking of Beauty: Uniting the Philosophy and Cognitive Studies of Aesthetic Perception. Peter Lang.
    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 (...)
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  38. Feminist Aesthetics, Popular Music, and the Politics of the 'Mainstream'.Robin James - unknown
    While feminist aestheticians have long interrogated gendered, raced, and classed hierarchies in the arts, feminist philosophers still don’t talk much about popular music. Even though Angela Davis and bell hooks have seriously engaged popular music, they are often situated on the margins of philosophy. It is my contention that feminist aesthetics has a lot to offer to the study of popular music, and the case of popular music points feminist aesthetics to some of its own (...)
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  39. Notes for a phenomenology of musical performance.Arnold Berleant - 1999 - Philosophy of Music Education Review 7 (2):73-79.
    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, (...)
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  40. Merging philosophical traditions for a new way to research music: On the ekphrastic description of musical experience.Andrzej Krawiec - 2024 - British Journal of Aesthetics 64 (1):107-125.
    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 (...)
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  41. Aesthetic concepts, perceptual learning, and linguistic enculturation: Considerations from Wittgenstein, language, and music.Adam M. Croom - 2012 - Integrative Psychological and Behavioral Science 46:90-117.
    Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human (...)
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  42. Thinking with Susanne Langer: Sonar Entanglements with the Non-human.Lona Gaikis - 2021 - Open Philosophy 4 (1):149-161.
    An aesthetic and epistemological departure from ocular centrism has occurred in the wake of current technological evolutions and the posthuman turn. The sonic exploration of the more-than-human takes artists and philosophers beyond anthropomorphism to reveal the hidden patterning of life forms and yet-unfathomed universes. The conflation of nature with culture is one shift that takes place when thinking with sounds and rhythm and studying our environments. On an ontological level, a reordering of subject and object occurs when encountering the reciprocal (...)
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  43. Li Zehou's Aesthetics as a Marxist Philosophy of Freedom.Brian Bruya - 2003 - Dialogue and Universalism 13 (11-12):133-140.
    After being largely unknown to non-siniphone philosophers, Li Zehou's ideas are gradually being translated into English, but very little has been done on his aesthetics, which he says is the key to his oeuvre. In the first of three sections of this paper, I briefly introduce the reader to Kant's aesthetics through Li's eyes, in which he develops an implicit notion of aesthetic freedom as political vehicle through the notions of subjectivity, universalization, and the unity of the cognitive faculties. In (...)
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  44. The beauty of sound: Timbre as grounds for aesthetic and artistic value in music.Ben Mc Hugh - 2022 - Dissertation, Uppsala University
    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 (...)
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  45. The Aesthetic Dimension of Wittgenstein's Later Writings.William Day - 2017 - In Garry L. Hagberg (ed.), Wittgenstein on Aesthetic Understanding. Cham: Palgrave-Macmillan. pp. 3-29.
    In this essay I argue the extent to which meaning and judgment in aesthetics figures in Wittgenstein’s later conception of language, particularly in his conception of how philosophy might go about explaining the ordinary functioning of language. Following a review of some biographical and textual matters concerning Wittgenstein’s life with music, I outline the connection among (1) Wittgenstein’s discussions of philosophical clarity or perspicuity, (2) our attempts to give clarity to our aesthetic experiences by wording them, and (3) (...)
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  46. Schopenhauerian Musical Formalism: Meaningfulness without Meaning.Chenyu Bu - 2023 - Journal of Comparative Literature and Aesthetics 46 (4):70-79.
    I develop Schopenhauerian musical formalism. First, I present a Schopenhauerian account of music with a background of his metaphysical framework. Then, I define meaningfulness as an analog to a Kantian notion of purposiveness and argue that, in light of Schopenhauer, music is meaningful as a direct manifestation of the universal will. Given the ineffable nature of what music points to, its form lacks any representation of meaning. Music is therefore the mere form of meaningfulness, and it (...)
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  47. The African aesthetic: keeper of the traditions.Kariamu Welsh-Asante (ed.) - 1993 - Westport, Conn.: Greenwood Press.
    While the field of aesthetics has long been dominated by European philosophy, recent inquiries have expanded the arena to accommodate different cultures as well as different definitions. In this volume, scholars and teachers in the fields of African and African American studies advance the debate over the nature of African aesthetics, approaching the subject from a broad range of disciplines. Dance, music, art, theatre, and literature are examined in order to appreciate and delineate the specific qualities and aspects (...)
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  48. Emotion Descriptions and Musical Expressiveness.Michelle Liu - forthcoming - Mind and Language.
    Emotion terms such as “sad”, “happy” and “joyful” apply to a wide range of entities. We use them to refer to mental states of sentient beings, and also to describe features of non-mental things such as comportment, nature, events, artworks and so on. Drawing on the literature on polysemy, this paper provides an in-depth analysis of emotion descriptions. It argues that emotion terms are polysemous and distinguishes seven related senses. In addition, the paper applies the analysis to shed light on (...)
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  49. Musik und Begriff. How to do things with Music.Simone Mahrenholz - 2021 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 66 (2):43-54.
    (For English, scroll down) Der Text präsentiert drei miteinander verbundene Thesen. (1) Philosophie der Musik modifiziert philosophische Grundbegriffe. (2) Eine gemeinsame Eigenschaft in der Vielfalt der Musikformen liegt im Effekt einer Wahrnehmungsveränderung: oft subtil, unterschwellig und zuweilen als ekstatisch erlebte Selbst- und Welt-Transformation. (3) Strenggenommen nehmen wir nicht Töne wahr, sondern a) unsere Hör-Physiologie wandelt Schwingungsfrequenzen ab circa 18 Hz in Tonhöhen um und damit Zeit-Organisation in ein Raum-Äquivalent. (Musik mit tiefen Tönen an der Grenze zur Wahrnehmung, etwa mittels großer (...)
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  50. Towards a Philosophy of Cosmic Life: New Discussions and Interdisciplinary Views.David Bartosch, Attila Grandpierre & Bei Peng (eds.) - 2023 - Singapore: Springer Nature.
    [186 pages] Just as the six branches of a snow crystal converge in regular proportions toward their common center, the six contributions to this book point toward a future philosophy of cosmic life. In this sense, this edited volume represents a multidisciplinary and transcultural polylogue of distinguished authors from three continents, which aims to establish highly innovative perspectives and open new frontiers of developing philosophical reflections and scientific foundations for the emergence of a common cosmic consciousness, for an integral (...)
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