Results for 'music notation'

796 found
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  1. 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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  2. Computer, Graphic, and Traditional Systems: A Theoretical Study of Music Notation.Richard Wood Massi - 1993 - Dissertation, University of California, San Diego
    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, (...)
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  3. A Derridean Approach To Musical Identity.Laurel Ralston - 2008 - Postgraduate Journal of Aesthetics 5 (2):32-40.
    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 (...)
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  4. Astral legal justice: Between law’s poetry and justice’s dance.Joshua M. Hall - 2023 - South African Journal of Philosophy 42 (2):108-116.
    In this article, I build on my recent conceptions of law as poetry and of justice as dance by articulating three new conceptions of the relationship between law and justice. In the first, “poetry-based justice”, justice consists of a rigid choreography to a kind of musical recitation of the law’s poetry. In the second, “dancing-based law”, justice consists of spontaneous, freely improvised movement patterns that the poetry of the law tries to capture in a kind of musical notation. And (...)
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  5. 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. Here, (...)
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  6. Musical Works as Structural Universals.A. R. J. Fisher - 2023 - Erkenntnis 88 (3):1245-67.
    In the ontology of music the Aristotelian theory of musical works is the view that musical works are immanent universals. The Aristotelian theory (hereafter Musical Aristotelianism) is an attractive and serviceable hypothesis. However, it is overlooked as a genuine competitor to the more well-known theories of Musical Platonism and nominalism. Worse still, there is no detailed account in the literature of the nature of the universals that the Aristotelian identifies musical works with. In this paper, I argue that the (...)
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  7. Music as Affective Scaffolding.Joel Krueger - forthcoming - In David Clarke, Ruth Herbert & Eric Clarke (eds.), Music and Consciousness II. Oxford: Oxford University Press.
    For 4E cognitive science, minds are embodied, embedded, enacted, and extended. Proponents observe that we regularly ‘offload’ our thinking onto body and world: we use gestures and calculators to augment mathematical reasoning, and smartphones and search engines as memory aids. I argue that music is a beyond-the-head resource that affords offloading. Via this offloading, music scaffolds access to new forms of thought, experience, and behaviour. I focus on music’s capacity to scaffold emotional consciousness, including the self-regulative processes (...)
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  8. Musical works are mind-independent artifacts.Elzė Sigutė Mikalonytė - 2023 - Synthese 203 (1):1-28.
    Realism about musical works is often tied to some type of Platonism. Nominalism, which posits that musical works exist and that they are concrete objects, goes with ontological realism much less often than Platonism: there is a long tradition which holds human-created objects (artifacts) to be mind-dependent. Musical Platonism leads to the well-known paradox of the impossibility of creating abstract objects, and so it has been suggested that only some form of nominalism becoming dominant in the ontology of art could (...)
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  9. Music and Vague Existence.David Friedell - 2017 - Res Philosophica 94 (4):437-449.
    I explain a tension between musical creationism (the view that musical works are abstract artifacts) and the view that there is no vague existence. I then suggest ways to reconcile these views. My central conclusion is that, although some versions of musical creationism imply vague existence, others do not. I discuss versions of musical creationism held by Jerrold Levinson, Simon Evnine, and Kit Fine. I also present two new versions. I close by considering whether the tension is merely an instance (...)
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  10.  68
    Music, emotion and metaphor.Nick Zangwill - 2007 - Journal of Aesthetics and Art Criticism 65 (4):391-400.
    We describe music in terms of emotion. How should we understand this? Some say that emotion descriptions should be understood literally. Let us call those views “literalist.” By contrast “nonliteralists” deny this and say that such descriptions are typically metaphorical.1 This issue about the linguistic description of music is connected with a central issue about the na- ture of music. That issue is whether there is any essential connection between music and emotion. According to what we (...)
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  11. Musical materialism and the inheritance problem.Chris Tillman & J. Spencer - 2012 - Analysis 72 (2):252-259.
    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’.
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  12. Computability, Notation, and de re Knowledge of Numbers.Stewart Shapiro, Eric Snyder & Richard Samuels - 2022 - Philosophies 1 (7).
    Saul Kripke once noted that there is a tight connection between computation and de re knowledge of whatever the computation acts upon. For example, the Euclidean algorithm can produce knowledge of which number is the greatest common divisor of two numbers. Arguably, algorithms operate directly on syntactic items, such as strings, and on numbers and the like only via how the numbers are represented. So we broach matters of notation. The purpose of this article is to explore the relationship (...)
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  13.  98
    Music, Neuroscience, and the Psychology of Well-Being: A Précis.Adam M. Croom - 2012 - Frontiers in Psychology 2:393.
    In Flourish, the positive psychologist Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or well-being: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted to (...)
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  14. Musical Contagion.Federico Lauria - 2023 - Encyclopedia.
    Music can contaminate us. Sometimes, listeners perceive music as expressing some emotion (say, sadness), and this elicits the same emotion in them (they feel sad). What is musical contagion? This entry presents the main theories of musical contagion that crystallize around the challenge to the leading theory of emotions as experiences of values. How and why does music contaminate us? Does musical contagion elicit garden variety emotions, such as sadness, joy, and anxiety? Does music contaminate us (...)
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  15. Music and the Evolution of Embodied Cognition.Stephen Asma - forthcoming - In M. Clasen J. Carroll (ed.), Evolutionary Perspectives on Imaginative Culture. pp. pp 163-181.
    Music is a universal human activity. Its evolution and its value as a cognitive resource are starting to come into focus. This chapter endeavors to give readers a clearer sense of the adaptive aspects of music, as well as the underlying cognitive and neural structures. Special attention is given to the important emotional dimensions of music, and an evolutionary argument is made for thinking of music as a prelinguistic embodied form of cognition—a form that is still (...)
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  16. Music and Language in Social Interaction: Synchrony, Antiphony, and Functional Origins.Nathan Oesch - 2019 - Frontiers in Psychology 10.
    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, (...)
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  17. Music practice and participation for psychological well-being: A review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment.Adam M. Croom - 2015 - Musicae Scientiae: The Journal of the European Society for the Cognitive Sciences of Music 19:44-64.
    In “Flourish,” Martin Seligman maintained that the elements of well-being consist of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes human flourishing or psychological well-being has remained a topic of continued debate among scholars, it has recently been argued in the literature that a paradigmatic or prototypical case of human psychological well-being would largely manifest most or all of the aforementioned PERMA factors. Further, in “A Neuroscientific Perspective on Music Therapy,” Stefan Koelsch also (...)
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  18.  79
    Music and Cognitive Extension.Luke Kersten - 2014 - Empirical Musicology Review 9 (3-4):193-202.
    Extended cognition holds that cognitive processes sometimes leak into the world (Dawson, 2013). A recent trend among proponents of extended cognition has been to put pressure on phenomena thought to be safe havens for internalists (Sneddon, 2011; Wilson, 2010; Wilson & Lenart, 2014). This paper attempts to continue this trend by arguing that music perception is an extended phenomenon. It is claimed that because music perception involves the detection of musical invariants within an “acoustic array”, the interaction between (...)
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  19. Musicing, Materiality, and the Emotional Niche.Joel Krueger - 2015 - Action, Criticism, and Theory for Music Education 14 (3):43-62.
    Building on Elliot and SilvermanÕs (2015) embodied and enactive approach to musicing, I argue for an extended approach: namely, the idea that music can function as an environmental scaffolding supporting the development of various experiences and embodied practices that would otherwise remain inaccessible. I focus especially on the materiality of music. I argue that one of the central ways we use music, as a material resource, is to manipulate social spaceÑand in so doing, manipulate our emotions. Acts (...)
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  20.  94
    Musical Manipulations and the Emotionally Extended Mind.Joel Krueger - 2014 - Empirical Musicology Review 9 (3-4):208-212.
    I respond to Kersten’s criticism in his article “Music and Cognitive Extension” of my approach to the musically extended emotional mind in Krueger (2014). I specify how we manipulate—and in so doing, integrate with—music when, as active listeners, we become part of a musically extended cognitive system. I also indicate how Kersten’s account might be enriched by paying closer attention to the way that music functions as an environmental artifact for emotion regulation.
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  21. Blockchain Identities: Notational Technologies for Control and Management of Abstracted Entities.Quinn Dupont - 2017 - Metaphilosophy 48 (5):634-653.
    This paper argues that many so-called digital technologies can be construed as notational technologies, explored through the example of Monegraph, an art and digital asset management platform built on top of the blockchain system originally developed for the cryptocurrency bitcoin. As the paper characterizes it, a notational technology is the performance of syntactic notation within a field of reference, a technologized version of what Nelson Goodman called a “notational system.” Notational technologies produce abstracted entities through positive and reliable, or (...)
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  22. Sideways music.Ned Markosian - 2019 - Analysis (1):anz039.
    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 (...)
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  23. Ontological Pluralism and Notational Variance.Bruno Whittle - 2021 - Oxford Studies in Metaphysics 12:58-72.
    Ontological pluralism is the view that there are different ways to exist. It is a position with deep roots in the history of philosophy, and in which there has been a recent resurgence of interest. In contemporary presentations, it is stated in terms of fundamental languages: as the view that such languages contain more than one quantifier. For example, one ranging over abstract objects, and another over concrete ones. A natural worry, however, is that the languages proposed by the pluralist (...)
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  24. A Diagrammatic Notation for Visualizing Epistemic Entities and Relations.Kye Palider, Ameer Sarwar, Hakob Barseghyan, Paul Patton, Julia Da Silva, Torin Doppelt, Nichole Levesley, Jessica Rapson, Jamie Shaw, Yifang Zhang & Amna Zulfiqar - 2021 - Scientonomy 4:87–139.
    This paper presents a diagrammatic notation for visualizing epistemic entities and relations. The notation was created during the Visualizing Worldviews project funded by the University of Toronto’s Jackman Humanities Institute and has been further developed by the scholars participating in the university’s Research Opportunity Program. Since any systematic diagrammatic notation should be based on a solid ontology of the respective domain, we first outline the current state of the scientonomic ontology. We then proceed to providing diagrammatic tools (...)
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  25. Editorial: Music and the Functions of the Brain: Arousal, Emotions, and Pleasure.Mark Reybrouck, Tuomas Eerola & Piotr Podlipniak - 2018 - Frontiers in Psychology 9.
    Music impinges upon the body and the brain and has inductive power, relying on both innate dispositions and acquired mechanisms for coping with the sounds. This process is partly autonomous and partly deliberate, but multiple interrelations between several levels of processing can be shown. There is, further, a tradition in neuroscience that divides the organization of the brain into lower and higher functions. The latter have received a lot of attention in music and brain studies during the last (...)
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  26. Musical agency and collaboration in the digital age.Tom Roberts & Joel Krueger - 2022 - In Kath Bicknell & John Sutton (eds.), Collaborative Embodied Performance: Ecologies of Skill. Methuen Drama. pp. 125-140.
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  27. Is Musical Emotion An Illusion?Muk Yan Wong - 2010 - Postgraduate Journal of Aesthetics 7 (1):24-36.
    The power of music to arouse garden-variety emotions has attracted attention from musicians, psychologists, and philosophers over decades. Despite its widespread acknowledgement, there is no agreement on how pure music with no propositional content can induce such a wide range of emotions. Jenefer Robinson coined this 1 problemthepuzzleofmusicalemotion. Inthisessay,Iwillfirstdiscusswhymusical emotion is a puzzle. Then, Jesse Prinz’s perceptual theory of emotion and his solution 2 to the puzzle will be discussed. Prinz regards an emotion as an embodied appraisal, and (...)
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  28. Music as atmosphere. Lines of becoming in congregational worship.Friedlind Riedel - 2015 - Lebenswelt. Aesthetics and Philosophy of Experience 6:80-111.
    In this paper I offer critical attention to the notion of atmosphere in relation to music. By exploring the concept through the case study of the Closed Brethren worship services, I argue that atmosphere may provide analytical tools to explore the ineffable in ecclesial practices. Music, just as atmosphere, commonly occupies a realm of ineffability and undermines notions such as inside and outside, subject and object. For this reason I present music as a means of knowing the (...)
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  29. Affordances and the musically extended mind.Joel Krueger - 2013 - Frontiers in Psychology 4:1-12.
    I defend a model of the musically extended mind. I consider how acts of “musicking” grant access to novel emotional experiences otherwise inaccessible. First, I discuss the idea of “musical affordances” and specify both what musical affordances are and how they invite different forms of entrainment. Next, I argue that musical affordances – via soliciting different forms of entrainment – enhance the functionality of various endogenous, emotiongranting regulative processes, drawing novel experiences out of us with an expanded complexity and phenomenal (...)
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  30. Musical Worlds and the Extended Mind.Joel Krueger - 2018 - Proceedings of A Body of Knowledge - Embodied Cognition and the Arts Conference CTSA UCI, 8-10 Dec 2016.
    “4E” approaches in cognitive science see mind as embodied, embedded, enacted, and extended. They observe that we routinely “offload” part of our thinking onto body and world. Recently, 4E theorists have turned to music cognition: from work on music perception and musical emotions, to improvisation and music education. I continue this trend. I argue that music — like other tools and technologies — is a beyond-the-head resource that affords offloading. And via this offloading, music can (...)
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  31. Musical scaffolding and the pleasure of sad music: Comment on “An Integrative Review of the Enjoyment of Sadness Associated with Music".Joel Krueger - forthcoming - Physics of Life Reviews.
    Why is listening to sad music pleasurable? Eerola et al. convincingly argue that we should adopt an integrative framework — encompassing biological, psycho-social, and cultural levels of explanation — to answer this question. I agree. The authors have done a great service in providing the outline of such an integrative account. But in their otherwise rich discussion of the psycho-social level of engagements with sad music, they say little about the phenomenology of such experiences — including features that (...)
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  32. 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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  33.  98
    Musical Experiments in an Ethics of Listening.Iain Campbell - 2023 - In Valery Vino (ed.), Aesthetic Literacy vol II: out of mind. Melbourne: mongrel matter. pp. 116-120.
    In what follows I offer some reflections on an ethics of listening, or perhaps more generally a philosophy of listening, that can be discerned in different forms in the experimental music that, since the 1950s, has challenged and radicalised how music is understood. I situate these reflections around three of my own concert experiences as an audience member.
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  34. Musical Profundity: Wittgenstein's Paradigm Shift.Eran Guter - 2019 - Apeiron. Estudios de Filosofia 10:41-58.
    The current debate concerning musical profundity was instigated, and set up by Peter Kivy in his book Music Alone (1990) as part of his comprehensive defense of enhanced formalism, a position he championed vigorously throughout his entire career. Kivy’s view of music led him to maintain utter skepticism regarding musical profundity. The scholarly debate that ensued centers on the question whether or not (at least some) music can be profound. In this study I would like to take (...)
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  35. Music and Memory in Vernon Lee (Violet Paget) (1856-1935).Marina Trakas - 2019 - Encyclopedia of Concise Concepts by Women Philosophers.
    The relationship between music and memory is mainly developed in Music and Its Lovers (1932), a book where Lee presents interesting psychological and philosophical insights from the analysis of the responses made by 150 people to a questionnaire about the “expressive and emotional powers of music”. In this short encyclopedic entry, I present Lee's analysis of the many different ways in which musical experience depends on memory.
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  36.  60
    Musical Works and Performance Evaluation.António Lopes - 2005 - Postgraduate Journal of Aesthetics 2 (2):76-86.
    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 (...)
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  37. Popular Music and Art-interpretive Injustice.P. D. Magnus & Evan Malone - forthcoming - Inquiry: An Interdisciplinary Journal of Philosophy.
    It has been over two decades since Miranda Fricker labeled epistemic injustice, in which an agent is wronged in their capacity as a knower. The philosophical literature has proliferated with variants and related concepts. By considering cases in popular music, we argue that it is worth distinguishing a parallel phenomenon of art-interpretive injustice, in which an agent is wronged in their creative capacity as a possible artist. In section 1, we consider the prosecutorial use of rap lyrics in court (...)
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  38. Music, neuroscience, and the psychology of wellbeing: A précis.Adam M. Croom - 2012 - Frontiers in Theoretical and Philosophical Psychology 2 (393):393.
    In Flourish, the positive psychologist Martin Seligman (2011) identifies five commonly recognized factors that are characteristic of human flourishing or wellbeing: (1) “positive emotion,” (2) “relationships,” (3) “engagement,” (4) “achievement,” and (5) “meaning” (p. 24). Although there is no settled set of necessary and sufficient conditions neatly circumscribing the bounds of human flourishing (Seligman, 2011), we would mostly likely consider a person that possessed high levels of these five factors as paradigmatic or prototypical of human flourishing. Accordingly, if we wanted (...)
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  39. Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus.João Paulo Lucas & César Lignelli - 2017 - Revista Brasileira de Estudos de Presença 7 (1):19-44.
    Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus – The unfolding of the concept of dramaturgy and the problematics of contemporary choreography are, today, a vast and diverse field of research, bearing numerous disclosures that lead to their reciprocal implication. Apart from that, dance and music share significant complementary ties allowing for the consideration of a common compositional inquiry. Reflecting on the compositional processes of dance and music, this article cross-examines the collaboration between choreographers and composers, (...)
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  40. Music and multimodal mental imagery.Bence Nanay - forthcoming - In Music and Mental Imagery. Routledge.
    Mental imagery is early perceptual processing that is not triggered by corresponding sensory stimulation in the relevant sense modality. Multimodal mental imagery is early perceptual processing that is triggered by sensory stimulation in a different sense modality. For example, when early visual or tactile processing is triggered by auditory sensory stimulation, this amounts to multimodal mental imagery. Pulling together philosophy, psychology and neuroscience, I will argue in this paper that multimodal mental imagery plays a crucial role in our engagement with (...)
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  41. Musical Thought And Compositionality.Christopher Bartel - 2006 - Postgraduate Journal of Aesthetics 3 (1).
    Many philosophers and music theorists have claimed that music is a language, though whether this is meant metaphorically or literally is often unclear. If the claim is meant literally, then it faces serious difficulty—many find it compelling to think that music cannot be a language because it lacks any semantic value. On the other hand, if it is meant metaphorically, then it is not clear what is gained by the metaphor—it is not clear what the metaphor is (...)
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  42. Explaining musical experience.Paul Boghossian - 2007 - In Kathleen Stock (ed.), Philosophers on Music: Experience, Meaning, and Work. New York: Oxford University Press UK.
    I start with the observation that we often respond to a musical performance with emotion -- even if it is just the performance of a piece of absolute music, unaccompanied by text, title or programme. We can be exhilarated after a Rossini overture brought off with subtlety and panache; somber and melancholy after Furtlanger’s performance of the slow movement of the Eroica. And so forth. These emotions feel like the real thing to me – or anyway very close to (...)
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  43. Popular Music Studies and the Problems of Sound, Society and Method.Eliot Bates - 2013 - IASPM@Journal 3 (2):15-32.
    Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the (...)
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  44.  55
    Time, Music, and Gardens.John Powell - 2012 - Philosophy and Music Conference.
    This conference paper contests the validity of some traditional concepts of gardens. It introduces the possibility of considering the passage of time in gardens as a musical, rhythmic phenomonen.
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  45. 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 seen (...)
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  46. 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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  47. Music, Emotions and the Influence of the Cognitive Sciences.Tom Cochrane - 2010 - Philosophy Compass 5 (11):978-988.
    This article reviews some of the ways in which philosophical problems concerning music can be informed by approaches from the cognitive sciences (principally psychology and neuroscience). Focusing on the issues of musical expressiveness and the arousal of emotions by music, the key philosophical problems and their alternative solutions are outlined. There is room for optimism that while current experimental data does not always unambiguously satisfy philosophical scrutiny, it can potentially support one theory over another, and in some cases (...)
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  48. Enacting Musical Experience.Joel Krueger - 2009 - Journal of Consciousness Studies 16 (2-3):98-123.
    I argue for an enactive account of musical experience — that is, the experience of listening ‘deeply’(i.e., sensitively and understandingly) to a piece of music. The guiding question is: what do we do when we listen ‘deeply’to music? I argue that these music listening episodes are, in fact, doings. They are instances of active perceiving, robust sensorimotor engagements with and manipulations of sonic structures within musical pieces. Music is thus experiential art, and in Nietzsche’s words, ‘we (...)
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  49. Impurely Musical Make-Believe.Eran Guter & Inbal Guter - 2015 - In Alexander Bareis & Lene Nordrum (eds.), How to Make-Believe: The Fictional Truths of the Representational Arts. De Gruyter. pp. 283-306.
    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 (...)
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  50. Melting musics, fusing sounds. Stumpf, Hornbostel and Comparative Musicology in Berlin.R. Martinelli - 2014 - In R. Bod, J. Maat & T. Weststeijn (eds.), The Making of the Humanities. Vol. III: The Modern Humanities. Amsterdam University Press. pp. 391-401.
    The ancient Greeks already used to give ethnic names to their different scales, and observations on differences in music of the various nations always raised the interest of musicians and philosophers. Yet, it was only in the late nineteenth century that “comparative musicology” became an institutional science. An important role in this process was played by Carl Stumpf, a former pupil of Brentano’s who pioneered these researches in Berlin. Stumpf founded the Phonogrammarchiv to collect recordings of folk and extra-European (...)
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