While Wittgenstein harked back to Romantic sentiments concerning the ineffable connection between musical depth and knowledge of human inner life, he nonetheless responded to them critically, while at the same time interweaving them into his forward thinking about the philosophic entanglements of language and the mind. In this paper I offer a thorough reading of Wittgenstein’s reorientation of metaphors of musical depth in a way that is conducive to a conception of knowledge of human beings which pushes beyond the inner/outer (...) dichotomy. (shrink)

Denne artikel hedder ”Musikalske Omgangsformer”. Men den fortæller ikke så meget om, hvorledes musikalske omgangsformer tager sig ud, som den fører til et punkt, hvor musikalske omgangsformer bliver sigtbare og påtrængende. Snarere end at præsentere en teori om musikalske omgangsformer anviser den et sted, hvor en teoridannelse er påkrævet. Udgangspunktet bliver en påvisning af, hvorledes den fænomenologiske tilgang til det musikalske fænomen svigter ved tematisk og dog stiltiende at hævde musikstykket, satsen, som sin genstand. Utilstrækkeligheden påpeges inden for den fænomenologiske (...) analyses eget univers. Som sådan vil den ved artiklens afslutning yderligere omfatte formuleringen af den påpegede utilstrækkelighed. Fra dette – negative – udgangspunkt tages skridtet ind i et rum, der skal indbefatte de påviste løse ender og samtidig give plads for, at vi med positivt udgangspunkt i en praxis-orienteret filosofi kan komme til at binde de nødvendige knuder. (shrink)

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 character. I argue that music therefore ought to be thought of as part of the vehicle needed to realize these emotional experiences. I appeal to different sources of empirical work to develop this idea. (shrink)

Can a set of musical metaphors in a treatise on ethics reveal something about the nature and source of moral autonomy? This article argues that it can. It shows how metaphorical usage of words like tone, pitch, and concord in Adam Smith's Theory of Moral Sentiments can be understood as elements of an analogical model for morality. What this model tells us about morality depends on how we conceptualise music. In contrast to earlier interpretations of Smith's metaphors that have seen (...) music as an aesthetic object, this article sees music as a practice. Understood in this way, the analogy allows us to see morality too as a practice––as moral tuning. This in turn reveals a novel answer to the intractable problem of conventionalism: moral autonomy consists in the freedom inherent in the constant need to interpret and reinterpret the strictly formal ideal of perfect propriety. (shrink)