Musical Concerns : Essays in Philosophy of Music Pdf, Epub, Ebook

MUSICAL CONCERNS : ESSAYS IN PHILOSOPHY OF MUSIC PDF, EPUB, EBOOK

Most agree that the fullest such authenticity requires the production of the right pitches in the right order. Yet we enthusiastically engage in such activities because that is the kind of creature we are. Of those unpublished essays, two address a subject that concerns Levinson in some of his most recent publications, namely, jazz. Understanding Music A central topic in the understanding of paradigmatically representational art forms, such as literature and film, is what constitutes an acceptable interpretation of a work. Syntax Advanced Search. Users without a subscription are not able to see the full content. Apart from debate over which of these proposals most closely matches our experience, there is the question of how well each of them fits with the various solutions discussed above to the problem of our negative responses to music, and with empirical work on the emotions, which leads me to the second point: There is growing interest in both the variety of emotions and affective states more broadly, and non- cognitive aspects of, or alternatives to, cognitive theories of the emotions e. One might have the same imaginative experience in response to both a live performance and a recording of The Rite of Spring , yet it seems an open question whether the two media are aesthetically equivalent. For example, I have noted that the essay on shame makes the important concession that "readily" heard expressive qualities may be supplemented, in a correct interpretation by a "suitably backgrounded listener," by recognition of qualities that the listener "does not readily or spontaneously" hear. My point is that Levinson may be discounting the degree to which listeners are misled by what they spontaneously hear. Reprinted in Levinson c: 11— However, he points out that human life is suffused with activities that people willingly engage in despite, or indeed partially because of, the difficulties they bring about. R esearch undertaken by a team of researchers in the s showed that the exposure to music from early childhood onwards helps children to speak more clearly, develop a larger vocabulary, and strengthen social and emotional skills. Enhanced bibliography for this entry at PhilPapers , with links to its database. Jerrold Levinson - - Topoi 28 2 Users without a subscription are not able to see the full content. Email alerts Article activity alert. If novelty is relative to creative context, and beauty is in part a matter of novelty, then it might often be the case that readily hearing a composer's music as dull -- as opposed to novel and beautiful -- or readily hearing it as more or less coarse in its gestures will prove to be a response to an invitation never sent. Would producing harpsichord-like sounds on a synthesizer do just as well? Predictably, classical music is credited with having the widest range of emotional expressiveness. Revision history. Musical Concerns : Essays in Philosophy of Music Writer

Levinson, who takes this approach, excludes organized linguistic sounds explicitly a. Add one. No keywords specified fix it. Download pdf. Jazz standards, it would seem, cannot be located in the way works in the classical tradition can. But the level of Levinson's credulity is not a firm foundation for any argument. Three of the essays are previously unpublished, and four of them focus on music in the jazz tradition. Nietzsche, generally, held that music is felt more than perceived and characterized that feeling as an affective intensity of the body. Indicated types, Dodd observes, are just as problematic as their non-indicated cousins in that they also pre-exist their discovery. The Interpretation of Music: Philosophical Essays. Content protection. Levinson himself says it is unlikely that one can sing a jazz standard without interpreting it A sophisticated defense of the arousal theory is to be found in Matravers —, though see the second thoughts in Matravers Peter Kivy, The Performance of Reading. Goodman, Nelson. Such arguments, though, have no consequences for the value of work-instantiation. Given the commonplace nature of the conceptual distinction between emotional expression and arousal, it would be weird to think that these should be analysed as equivalent in the musical case. Save my name, email, and website in this browser for the next time I comment. Miller ed. Review: Jerrold Levinson. This distinction grounds the otherness that is typical of natural sounds and the experience of inevitability that is associated with them. However, it seems that there is plenty of room for further work on the aesthetics of impure music. A seminal work in the discussion of comparative ontology, specifically regarding the ontological status of rock works. Other Accounts Jenefer Robinson, in her Deeper than Reason , is noteworthy for the attention she devotes to empirical research on emotions, as well as for her attempt to develop a notion of expressiveness that could be applied to art forms other than music. They may even be described as challenging those conventions. Methodologically, Levinson may be criticized for being inconsistent when arguments depend on empirical claims. Need an account? For an investigation of authenticity with respect to things other than instantiation of the work, see Kivy , Gracyk , and Bicknell It is a short step from here to a sceptical position: if garden-variety emotions are aroused by music because of associated content brought to mind by the listening experience, then it is, properly speaking, that content that does the arousal and not the music. Thank you. That time seems to me to end with Friedrich Nietzsche, who died in These criticisms seem a little uncharitable. Alternatively, the nominalist might embrace the equally counterintuitive view that the work in question has never been performed, for all of the available performances are defective and so do not really count as performances of the work. Cite Cite John M. Essays on the Philosophy of Music. Dyck, John. Applied ethics. She contends, however, that some music in the Western canon invites such a listening. Given this importance of music , it is no surprise that parents use music instinctively to express joy, and to engage or calm their children. Musical Concerns : Essays in Philosophy of Music Reviews

Values of Music But we may be moving too quickly, for it is not beyond dispute that pure music indeed lacks any extra-musical reference. By Iztok Mervic. That is, what Levinson thinks about musical beauty, value and shame, formed from an aesthetic appreciation of classical, Western music appears to serve as a base for what he comes to think about jazz. This is because music has the ability to strengthen the connection between the body and brain to work together as a team. It syncs automatically with your account and allows you to read online or offline wherever you are. Ditto for works of music as indicated types. Jerrold Levinson has suggested his alternative proposal that it is to better accommodate these intuitions. According to Davies, this may be achieved by suitably long and complex musical passages, which convey the succession of feelings and behavioural components typical of such attitudes. For this reason, children who have been in regular contact with music are more able to respond to stimuli, concentrate and […]. This work, while not uniquely concerned with music, has insightful discussion on both the musical expression of emotions and the value of music as art. A cleverly played game or an unexpected and brilliant move may be described as profound because of their capacity to illustrate the impressive potential of human ingenuity and inventiveness. Article Navigation. Artists who have had these perceptions can pass them on to others — through art, not by exposition, and then only to people who can respond in the same way to the art they encounter. This includes attention to the musical form, to the movement of music and to the impression of agency epitomized as gesture which links the movement in music to its expression. Against the sceptical view, some philosophers hold that arousal of garden-variety emotions is possible without the aid of extra-musical associations. The philosophy of music attempts to answer questions concerning the nature and value of musical practices. Most preschoolers love listening or singing along to music. He argues for a prototype or paradigm of narrowly musical beauty to which his examples approximate more or less closely enough to anchor conceptually. You could not be signed in, please check and try again. As an illustration of this, consider the contrast between the two hard rock bands Led Zeppelin and Deep Purple. How can we evaluate the value of any given piece of music? Powered by: Safari Books Online. He considers various formulations of the authenticity ideal animating historically informed performances of music and dismisses them as either unattainable or unattractive. According to Robinson, things are quite the opposite, as music is able to induce the emotional states it expresses both before we may realise it expresses them and independently from our capacity to do so. This falls short of what is required to have a full-blown emotional state, which would require an intentional object and a relevant belief. Remember me on this computer.

Musical Concerns : Essays in Philosophy of Music Read Online

If one endorses only an aesthetic condition, and not a tonality condition, one still faces the problem of poetry—non-musical aesthetically organized sounds. Jerrold Levinson agrees that there is an important resemblance between the contour of music expressive of an emotion and the contour of typical behavioral expressions of that emotion. Unlike its three predecessors, Musical Concerns is devoted exclusively to philosophical issues concerning music, as its title rather plainly suggests. He is believed to have come to this idea after discovering the importance of mathematics in music. Thomasson, Amie L. If one hammer was half the weight of the other, you would get an octave; if one was a third of the weight of the other, you heard a fifth; if one was a quarter of the weight of the other, you heard a fourth. These criticisms seem a little uncharitable. This is one reason that Hamilton endorses both tonal and aesthetic conditions on music; without the former, Levinson is unable to make such a distinction. Regarding the first point, our emotional responses to music lack many of the behaviors characteristic of the supposedly felt emotion. According to fictionalists, the value of discourse about musical works is not truth, and thus we ought not to abandon the discourse despite the non-existence of its subject matter, but rather adopt a different, make-believe attitude towards it or perhaps we already do so. Subscriber sign in You could not be signed in, please check and try again. Platonism, the view that musical works are abstract objects, is perhaps the currently dominant view, since it respects more of our pre-theoretic intuitions about musical works than any of the other theories. Musical Value and Profundity Is there a value intrinsic to pure instrumental music? There are two main issues related to the emotions aroused by music in listeners. Davies a,b; Young The peculiarity of music is that these abstract gestalten are offered as developing in time. A third possibility is that in jazz there are no works, only performances Brown , ; Kania b. Non-expressive aesthetic qualities are also "important," but Levinson's most frequent theme is that the supervening "content at the level of gesture and expression" is the normal, and most important, object of interest in appreciative listening Pythagoras was the principal figure in the cult named after Orpheus, whose music was said to have embodied divine mysteries. The first is that neither composers nor performers often experience the emotions their music is expressive of as it is produced.

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