1993 PROGRAM COMMITTEE NOTE: All Friday Afternoon Sessions Are at the LEVINSON and the RESISTING READER: William J
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Jerrold Levinson's Musical Concerns: Essays In
___________________________________________________________________________ Book Review LEVINSON, JERROLD. Musical Concerns: Essays in Philosophy of Music. Oxford University Press 2015, 176 pp., $45 hardcover. Reviewed by Caterina Moruzzi Musical Concerns collects twelve essays written by Jerrold Levinson between 2006 and 2014. The value of this collection consists in providing insights both into traditional discussions of the philosophy of music, such as the music-emotion relation, and into alternative and emerging ones, such as the idiosyncrasies of jazz and the values possessed by music. In the first essay, “Philosophy and Music,” Levinson highlights the beneficial results these two disciplines can obtain from mutual engagement. In addition to the more traditional interrelation between composers who look to philosophical theories to get inspiration for their works and philosophers influenced by musical works, he identifies three features common to philosophy and music: the search for completeness (9–10), their nature as forms of thought (10–13), and their deep usefulness despite superficial impracticality (13). “Indication, Abstraction, and Individuation” contrasts a theory developed by Levinson with formalist theories that identify the nature of musical works with their pure form and structure. 1 Levinson’s musical contextualism ascribes ontological importance also to contextual factors such as composer, time of composition, and instrumentation. The creation of the work is carried out by an act of artistic indication, the result of a deliberate choice that sets the standards for the performance of the work itself (50), which assigns to the author’s creation the status of artwork. The next essential step after the creation of a work is its reception by an audience: “The Aesthetic Appreciation of Music” deals with different kinds of appreciation the audience can experience by listening to music. -
Download Full Resume in Pdf Format
Curriculum Vitae Ellen Handler Spitz Honors College Professor University of Maryland (UMBC) [email protected], <[email protected]> WEBSITE: http://ellenhandlerspitz.net/ Education Columbia University, Ph.D. (1983): Philosophy and the Social Sciences; Dissertation: Art and Psyche: A Study in Aesthetics and Psychoanalysis, published by Yale University Press (1985) Harvard University, M.A.T.: Master of Arts in Teaching: Fine Arts Barnard College, A.B., Major: History of Art Teaching Honors College Professor, University of Maryland, Baltimore County (2001-current) University of California at Santa Cruz, Visiting Professor of Art History (spring 2000) Stanford University, Lecturer, Department of Art and Art History (1997-2001) Cornell University Medical College, Lecturer of Aesthetics in Psychiatry (1987-1995) Columbia University Center for Psychoanalytic Training & Research, Lecturer (1986-96) Rutgers University, Livingston College Honors Program, Visiting Faculty (1993) New York University, Adjunct Assistant Professor of Educational Psychology (1984-87) Hebrew University of Jerusalem, Ayala & Sam Zacks Visiting Professor Art History (87) Graduate Center City University of New York, Visiting Professor of Art History (1986) Barnard College, Visiting Lecturer in Philosophy (1985) Fellowships, Honors, and Awards Research Award URAS. University of Maryland, UMBC (2010-11) Professor of the Year Award. Honors College, University of Maryland, UMBC (2009-10) Council of Scholars, Erikson Institute, Austen Riggs Center (invited January -
November 2003 CAA News
NEWS NEWSLETTER OF THE COLLEGE ART ASSOCIATION Volume 28, Number 6 NOVEMBER 2003 James Cahill CURATORIAL ASSISTANCE IN A CAHILL IS 2004 DISTINGUISHED TIGHT ECONOMY SCHOLAR n the face of budget cuts and evaporating funding, he CAA Distinguished public and private art institutions throughout the Scholar’s Session was inaugu- United States are scaling back ambitious plans, with rated in 2001 to engage senior Imany struggling to get by. University museums and gal- Tscholars in the Annual Conference and leries are confronted with similar situations. Few major celebrate their contributions to art his- U.S. museums are currently mounting blockbuster exhi- tory. But its aim is greater: At a time bitions. Expensive traveling shows and international of great methodological shifts in the loans are being curtailed or canceled, and institutions are field, this sessions fosters dialogue increasingly relying on their own permanent collections within and among the different genera- instead. While many small and midsize museums own tions of art historians. Past honorees many excellent works of art, some do not have the include James Ackerman, Leo breadth found in major cities. Steinberg, and the late Phyllis Pray How can a museum or gallery maintain a rigorous Bober. This year in Seattle, CAA will exhibition schedule in these difficult economic times? salute James Cahill, a renowned Several nonprofit institutions organize touring exhibi- scholar of Asian art. The Distinguished tions and arrange loans of works of art. Many in the Scholar’s Session will take place on museum world already know these organizations— Thursday, February 19, 2004, 2:30– American Federation of Arts, Smithsonian Institution 5:00 P.M. -
A Biography of the American Snow Globe: from Memory to Mass Production, from Souvenir to Sign
A BIOGRAPHY OF THE AMERICAN SNOW GLOBE: FROM MEMORY TO MASS PRODUCTION, FROM SOUVENIR TO SIGN Anne Hilker Prof. Marilyn Cohen, Thesis Advisor Submitted In Partial Fulfillment of the Requirements for the Degree Master of Arts in the History of the Decorative Arts and Design MA Program in the History of the Decorative Arts and Design Cooper Hewitt, National Design Museum, Smithsonian Institution; and Parsons The New School for Design 2014 © 2014 Anne K. Hilker All Rights Reserved TABLE OF CONTENTS INTRODUCTION…………………………………………………………………………1 CHAPTER I. A MATERIAL HISTORY OF THE SNOW GLOBE…………………....6 CHAPTER II. THE SNOW GLOBE AS OBJECT OF MEMORY…………………….27 CHAPTER III. THE COMMODIFICATION OF THE SNOW GLOBE: COMMODIFYING, COLLECTING, SUBVERTING……………..…57 CONCLUSION…………………………………………………………………………..79 LIST OF ILLUSTRATIONS……………………………………………………………..ii BIBLIOGRAPHY…………………………………………………….…………..……..92 ILLUSTRATIONS…………………………………………………………….……….111 i LIST OF ILLUSTRATIONS 1. Eiffel Tower snow globe, 1889. Image from blog, My Favorite Things!, entry dated Dec. 15, 2011, crediting the Bergstrom-Mahler Museum, http://myfavoritethings- conniemotz.blogspot.com/2011/12/1889-paris-exhibition-snow-globe.html, last visited April 19, 2014. 2. Bernard Koziol’s view out the back of his Volkswagen “Beetle,” circa 1950. “The Story of the Dream Globes,” posting on Company Koziol website, undated, http://www.snow-globe.com/history_snow_globe.htm, last accessed October 3, 2013. 3. Florida day/date snow globe, entry on Flickr.com, June 29, 2009, https://www.flickr.com/photos/thriftedsisters/3673223886/, last accessed April 19, 2014, picturing globe of structure similar to that appearing in Moore and Rinker, Snow Globes, 48. 4A, B. Baccarat Silhouette Squirrel Cane Paperweight, side and top views, iGavel auctions, posted June 14, 2012, http://www.igavelauctions.com/category/sale- highlights/page/2/, last accessed April 19, 2014. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMTPON FACULTY OF HUMANITIES Modern Languages Perceptions of Holocaust Memory: A Comparative study of Public Reactions to Art about the Holocaust at the Jewish Museum in New York and the Israel Museum in Jerusalem (1990s-2000s) by Diana I. Popescu Thesis for the degree of Doctor of Philosophy April 2012 UNIVERSITY OF SOUTHMAPTON ABSTRACT FACULTY OF HUMANITIES Modern Languages Doctor of Philosophy PERCEPTIONS OF HOLOCAUST MEMORY: A COMPARATIVE STUDY OF PUBLIC REACTIONS TO ART EXHIBITIONS ABOUT THE HOLOCAUST AT THE JEWISH MUSEUM IN NEW YORK AND THE ISRAEL MUSEUM IN JERUSALEM (1990s-2000s) by Diana I. Popescu This thesis investigates the changes in the Israeli and Jewish-American public perception of Holocaust memory in the late 1990s and early 2000s, and offers an elaborate comparative analysis of public reactions to art about the Holocaust. -
A Powerful Defence of Musical Formalism Hanne Appelqvist: Wittgenstein and the Conditions of Musical Commu- Nication
REVIEW A Powerful Defence of Musical Formalism Hanne Appelqvist: Wittgenstein and the Conditions of Musical Commu- nication. Acta Philosophica Fennica Vol. 85, Helsinki: The Philosophical Society of Finland, 2008. 152 pages. isbn 978-951-9265-68-4 A typical problem with approaches to aesthetic questions which draw heavily on the views of a single philosopher is that those who are en- gaged in the debate over the philosophical problem to which his or her views are applied may often have trouble seeing the relevance of the proposed account. This is not the case with Hanne Appelqvist’s work Wittgenstein and the Conditions of Musical Communication. She develops a highly persuasive variant of musical formalism based on a reading of remarks on the analogy between the understanding of music and the un- derstanding of language found in Ludwig Wittgenstein’s later writings. With this sort of Wittgensteinian formalism she challenges an influen- tial tradition in contemporary philosophy of music in which music’s con- tent is considered to consist of the expression of emotions and in which musical understanding is seen as the capacity to grasp the emotion a par- ticular musical phrase or piece supposedly expresses. Simultaneously, Appelqvist manages to provide a rehabilitation of the musical formalism developed by Eduard Hanslick who contemporary analytic philosophers of music have, in her opinion, undeservedly looked down on. The first two chapters of Appelqvist’s work explore the relationship between the early and later parts of Wittgenstein’s philosophical career. While it is well-known that Wittgenstein’s thinking changed radically in certain respects between the Tractatus and the Philosophical Investigations, in Appelqvist’s view, the concerns of the two works nevertheless overlap in that they both attempt “to give an account of the necessary conditions of meaning in language” (41). -
Piece for the End of Time: in Defence of Musical Ontology
Trinity University Digital Commons @ Trinity Philosophy Faculty Research Philosophy Department 1-2008 Piece for the End of Time: In Defence of Musical Ontology Andrew Kania Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/phil_faculty Part of the Philosophy Commons Repository Citation Kania, A. (2008). Piece for the end of time: In defence of musical ontology. British Journal of Aesthetics, 48(1), 65-79. doi:10.1093/aesthj/aym040 This Post-Print is brought to you for free and open access by the Philosophy Department at Digital Commons @ Trinity. It has been accepted for inclusion in Philosophy Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Piece for the End of Time: In Defence of Musical Ontology Andrew Kania [This is a pre-copyedited, author-produced PDF of an article accepted for publication in The British Journal of Aesthetics following peer review. The version of record (Andrew Kania, “Piece for the End of Time: In Defence of Musical Ontology” British Journal of Aesthetics 48 (2008): 65-79) is available online at: http://bjaesthetics.oxfordjournals.org/content/48/1/65.abstract?sid=9e5cc66e- c952-4d71-9a27-f80e13bf3c67. Please cite only the published version.] Abstract Aaron Ridley has recently attacked the study of musical ontology – an apparently fertile area in the philosophy of music. I argue here that Ridley’s arguments are unsound. There are genuinely puzzling ontological questions about music, many of which are closely related to questions of musical value. While it is true that musical ontology must be descriptive of pre-existing musical practices and that some debates, such as that over the creatability of musical works, have little consequence for questions of musical value, none of this implies that these debates themselves are without value. -
Aesthetic Contextualism Jerrold Levinson University of Maryland
Postgraduate Journal of Aesthetics, Vol. 4, No. 3, December 2007 AESTHETIC CONTEXTUALISM JERROLD LEVINSON UNIVERSITY OF MARYLAND Let me begin with a quote: “The universal organum of philosophy—the ground stone of its entire architecture—is the philosophy of art.”1 This statement, made in 1800 by the German Idealist philosopher Friedrich Schelling, is rather striking, not only because of its grandiosity, but also because it contrasts with what the majority of contemporary philosophers would be prepared to say on the subject. There is nevertheless a grain of truth in the claim that there is a peculiar connection between art and philosophy and in the claim that aesthetics is a central area of philosophy. First of all, it is worth noting that, even if the philosophy of art has not played a role in the systems of all the indisputably great philosophers, or even of most of them, it has occupied an important place in the thought of quite a few, among them Plato, Aristotle, Hume, Kant, Schopenhauer, Nietzsche, Hegel and Sartre. And a good number of philosophers of lesser rank—including Croce, Collingwood, Dewey, Bergson, Santayana, Gadamer and, evidently, Schelling, also had a philosophy of art; one finds them perhaps more interested in it than in, say, ethics. Why this natural, even if not inevitable, link between philosophy and art? Well, both art and philosophy are concerned with ultimate value, with what makes life worth living. In both art and philosophy, expression, clarification, and formulation are important, though whether the content of what is expressed, clarified and formulated in art and in philosophy is the same is another matter. -
Hegel on Music
Swarthmore College Works Philosophy Faculty Works Philosophy 2007 Hegel On Music Richard Thomas Eldridge Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-philosophy Part of the Philosophy Commons Let us know how access to these works benefits ouy Recommended Citation Richard Thomas Eldridge. (2007). "Hegel On Music". Hegel And The Arts. 119-145. https://works.swarthmore.edu/fac-philosophy/106 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Philosophy Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Hegel on Music Richard Eldridge 1 At first glance, Hegel says some striking but apparently inconsistent things about music. He appears, first, to defend musical formalism: the view, urged by theorists from Eduard Hanslick to Peter Kivy, that pure instru mental music is an acoustic arrangement that signifies nothing. In music as an art, Hegel notes, “sound, just as sound, is treated as an end in it self; ... its own form, artistic note-formation, can become its essential end” (A 2:899).* He goes on to indicate in particular that successful art music need not be based on any verbal text. Music has the maximum possibility of freeing itself from any actual text as well as from the expression of any specific subject-matter, with a view to finding satisfaction solely in a self-enclosed series of the conjunc tions, changes, oppositions, and modulations falling within the purely musical sphere of sounds. (A 2:901-2) Yet, second, Hegel also remarks that music that is simply self- enclosed development “remains empty and meaningless” (A 2:902). -
1997 Program Committee Chair Garry Hagberg
WEDNESDAY, OCTOBER 29 THURSDAY, OCTOBER 30 Registration Registration 8:30 a.lll. - 4:30 p.m. 6:00 - 9:00 p.m. The Inn at Loretto. Main Lobby The Inn al Lorello. Main Lobby Unless otherwise noted all sessions will be held in The Inn al Lorctto Concurrent Sessions Ia CREATIVITY AND CONSTRAINT Finance Committee Meeting 9:00 - 10:50 a.m. The Tesuque Room 10:00 12 Noon a.m. - C!wiriPallelisl: David Novitz, Philosophy, In n at Loretto, American Society for Aesthetics Suite Uni versity of Ca nterbury Pallelists: Tom Leddy, Philosophy, Board of'Trustees Meeting San Jose Slale Un iversity 3:30 - 5:30 p.m. Stan Godlovitch, Philosophy, Dinner and M eeting Lincoln Uni versity 6:00 - 9:30 p.l11. Comllle/llaror: Richard Kcshen,Philosophy, The Acoma Room University College of Cape Breton Welcoming Reception (Informal) Ib METAPHOR AND POETIC LANGUAGE 7:00 - 8:30 p.l11. 9:00 - 10:50 a.m. The Chaco West Room Joshua Baier & Company, gallery, Chair: Bill Taschek, Philosophy, 11 6-1/2 East Palace Avenue. Santa Fe Ohio State Uni versity Speakers: Leon Surette, English, Uni versity of Western Ontario ~~W h y Donald Davidson Is Wrong about Metaphor" S. Gillian Parker, Philosophy, Sonoma State Uni versi ty "Poetic Metaphor: A Case for Images" Jonathan Maskit, Philosophy, Den ison University " Poetic Experience and the LinguistifiCl,tion of the World" COll1l11ell/aW I': Patricia Herzog, Philosophy, Brandeis University Ie WITIGENSTEIN: PICTURE, SIMILE, AND EVIDENCE 9:00 - 10:50 a.m. The Acoma Room Chair: James Hamilton, Philosophy, Kansas State Uni versity Speakers: james Elkins, Art History. -
1 Phil 1370 Philosophy of Art When and Where: Tuesday & Thursday, 2
Phil 1370 Philosophy of Art When and where: Tuesday & Thursday, 2:30–3:45 pm, CL 349. Instructor: Anja Jauernig, CL 1028F, 624-5782, [email protected]. Office Hours: Thursday 1:15–2:15, and by appointment. Readings. All readings are available through E-reserve at http://pitt.libguides.com/er.php?ecid=9451. Password: aj37pa. Requirements and grading. You are required to write one medium length paper about half-way through the course (about 7 pages, 30%), and one longer paper at the end (about 14 pages, 60%). There will be several paper topics to choose from for the first paper; you will choose the topic for the second paper yourself (in consultation with me). You are also required to post one short comment or question about, or objection to, the readings for each meeting by 9 am on the day of the meeting on the Philosophy of Art message board on CourseWeb (10%). (How long should the comment be? A few sentences or a brief paragraph will be sufficient.) It is a necessary condition for passing the course that you get a passing grade on each paper, and that you post a comment for at least 80% of meetings. Extensions. If you are unable to hand in your paper on time for a legitimate reason, we can arrange for you to submit your work at a later time. If you do not have a good excuse there will be an automatic late penalty of 0.333 on the usual grading scale for every begun 3 hours of being late. -
Musical Concerns : Essays in Philosophy of Music Pdf, Epub, Ebook
MUSICAL CONCERNS : ESSAYS IN PHILOSOPHY OF MUSIC PDF, EPUB, EBOOK Jerrold Levinson | 182 pages | 14 Aug 2018 | Oxford University Press | 9780199669677 | English | Oxford, United Kingdom Musical Concerns : Essays in Philosophy of Music PDF Book 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.