PETER KIVY: CURRICULUM VITAE
1. Degrees
B. A. University of Michigan, 1956 (Philosophy).
M.A. University of Michigan, 1958 (Philosophy).
M.A. Yale University, 1960 (History of Music).
Ph.D. Columbia University, 1966 (Philosophy).
Honorary Doctor of Music, Doctor of Music (honoris causa), Goldsmiths’ College of the University of London, 2008.
2. Academic Positions
Preceptor in Philosophy, Columbia College, 1963-66.
Lecturer in Philosophy, Brooklyn College, 1967.
Assistant Professor of Philosophy, Rutgers University, Newark College of Arts and Sciences, 1967-70.
Associate Professor of Philosophy, Rutgers University, Newark College of Arts and Sciences, 1970-76.
Professor of Philosophy, Rutgers University, Newark College of Arts and Sciences, 1976-78.
Professor of Philosophy, Rutgers University, Graduate Faculty, New Brunswick, 1978-80.
Member, Graduate Faculty, New Brunswick, 1974-
Chairman, Department of Philosophy, Rutgers University, Newark College of Arts and Sciences, 1971-77.
Professor of Philosophy, Rutgers University, New Brunswick,1980-88.
Professor II of Philosophy, Rutgers University, New Brunswick,1988-2003.
Board of Governors Professor of Philosophy, Rutgers University, 2003-. 2
Visiting Professor, Goldsmiths College of the University of London (2007-2009).
3. Publications
(A) Books:
Speaking of Art (The Hague: Martinus Nijhoff, 1973).
Francis Hutcheson’s Inquiry Concerning Beauty, Order, Harmony, Design, edited and collated with an introduction (The Hague: Martinus Nijoff, 1973).
Thomas Reid’s Lectures on the Fine Arts, transcribed from the manuscript with an introduction (The Hague: Martinus Nijoff, 1973).
The Seventh Sense: A Study of Francis Hutcheson’s Aesthetics, and its Influence in Eighteenth-Century Britain (New York: Burt Franklin, 1976).
The Corded Shell: Reflections on Musical Expression (Princeton: Princeton University Press, 1980).
Sound and Semblance: Reflections on Musical Representation (Princeton: Princeton University Press, 1984).
Osmin’s Rage: Philosophical Reflections on Opera, Drama and Text (Princeton: Princeton University Press, 1988).
Sound Sentiment: An Essay on Musical Emotions (Philadelphia: Temple University Press, 1989).
Music Alone: Philosophical Reflections on the Purely Musical Experience (Ithaca: Cornell University Press, 1990).
Sound and Semblance (2nd ed.; Ithaca: Cornell University Press, 1991), with a new afterword by the author.
Essays on the History of Aesthetics (Rochester: Rochester University Press, 1992), edited with an introduction.
The Fine Art of Repetition: And Other Essays in the Philosophy of Music (London and New York: Cambridge University Press, 1993), the collected essays on music of Peter Kivy.
3
Authenticities: Philosophical Reflections on Musical Performance (Ithaca: Cornell University Press, 1995).
Philosophies of Arts: An Essay in Differences (New York: Cambridge University Press, 1997).
Osmin’s Rage: Philosophical Reflections on Opera, Drama, and Text, second edition, with a new preface and concluding chapter (Ithaca: Cornell University Press, 1988).
New Essays on Musical Understanding (Oxford: Clarendon Press, 2001), more collected essays of Peter Kivy.
The Possessor and the Possessed: Handel, Mozart, Beethoven and Idea of Musical Genius (New Haven: Yale University Press, 2001).
Introduction to a Philosophy of Music (Oxford: Oxford University Press, 2002).
The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics, second edition, revised and enlarged (Oxford: Clarendon Press, 2003).
The Blackwell Guide to Aesthetics (Oxford: Blackwell, 2004), edited with an Introduction.
The Performance of Reading: an Essay in the Philosophy of Literature (Oxford: Blackwell, 2006).
Music, Language, and Cognition: And Other Essays in the Philosophy of Music, further collected essays of Peter Kivy (Oxford: Oxford University Press, 2007).
Antithetical Arts: On the Ancient Quarrel Between Literature and Music (Oxford: Oxford University Press, 2009).
Once-Told Tales: An Essay in Literary Aesthetics (Chitchester: Wiley- Blackwell, 2011).
Sounding Off: Eleven Essays in the Philosophy of Music (Oxford: Oxford University Press, 2012).
(B) Translations of my books:
Nuevos ensayos sobre la comprehension musical, trans. Verónica Canales 4
(Barcelona: Paidós, 2005). Spanish translation of New Essays on Musical Understanding.
Filosofia della musica: Un’introduzione, trans. Alessandro Bertinetto (Torino:Giulio Einaudi, 2007). Italian translation of Introduction to a Philosophy of Music.
Estetica: Fundamentos e questoes de Filosofia da Arte, trans. Euclides Luiz Calloni (Sao Paulo: Paulus, 2008). Portuguese translation of The Blackwell Guide to Aesthetics.
Chinese translation of The Blackwell Guide to Aesthetics, trans. Peng Feng (Nan Jing: Nan Jing University Press, 2008).
Korean translation of The Possessor and the Possessed (London: Sam & Parkers, and Yale University Press, 2010).
Chinese translation of Music Alone (Hunan: Hunan Literature and Arts Publishing, 2010).
El poseedor y el poseido: Handel, Mozart, Beethoven y el concepto del genio musical, trans. Mariano Peyrou (Madrid: Machado Libros, 2011). Spanish translation of The Possessor and the Possessed.
Chinese translation of Introduction to a Philosophy of Music (Ecnupress, 2012).
(C) Articles:
“Stimulus Context and Satiation,” with Robert W. Earl and Edward L. Walker, Journal of Comparative and Physiological Psychology, IL (1956).
“Charles Darwin on Music,” Journal of the American Musicological Society, XI (1959).
“Herbert Spencer and a Musical Dispute,” Music Review, XXIII (1964).
“Mainwaring’s Handel: its Relation to English Aesthetics,” Journal of the American Musicological Society, XVII (1964).
“Child Mozart as an Aesthetic Symbol,” Journal of the History of Ideas XVIII (1967).
“Hume’s Standard of Taste: Breaking the Circle,” British Journal of Aesthetics, VII (1967).
5
“Aesthetic Aspects and Aesthetic Qualities,” Journal of Philosophy, LXV (1968).
“Lectures on the Fine Arts: an Unpublished Manuscript of Thomas Reid’s” Journal of the History of Ideas, XXXI (1970).
“What Mattheson Said,” Music Review, XXXIV (1973).
“Ends, Means, and the Quality of Life,” Ecology and the Quality of Life, ed. Sylvan Kaplan and Evelyn Kivy-Rosenberg (Springfield: Charles C. Thomas, 1973).
“Aesthetics and Rationality,” Journal of Aesthetics and Art Criticism, XXXIV (1975).
“What makes ‘Aesthetic’ Terms Aesthetic?,” Philosophy and Phenomenological Research, XXXVI (1975).
“The Logic of Taste: Reid and the Second Fifty Years,” Thomas Reid: Critical Interpretations, ed. Stephen F. Barker and Tom L. Beauchamp (Philadelphia: Philosophical Monographs, 1976).
“A Logic of Taste – The First Fifty Years,” Aesthetics: A Critical Anthology, ed. George Dickie and Richard Sclanfani (New York: St. Martin’s Press, 1977).
“ ‘Seems’ and ‘Is’,” Proceedings of the Seventh International Congress of Aesthetics, Vol. II (Bucharest, 1977).
“The Point of it All: An Answer to Professor Hyde,” Philosophy and Phenomenological Research, XXXIX (1978).
“Thomas Reid and the Expression Theory of Art,” The Monist, LXI (1978).
“Aesthetic Concepts: Some Fresh Considerations,” Journal of Aesthetics and Art Criticism, XXXVI (1979).
Introduction to Charles Burney’s Account of the Musical Performances in Westminister-Abbey (New York: Da Copa Press, 1979).
“Voltaire, Hume, and the Problem of Evil,” Philosophy and Literature, III (1979).
“A Failure of Aesthetic Emotivism,” Philosophical Studies, XXXVIII (1980).
6
“Melville’s Billy and the Secular Problem of Evil: the Worm in the Bud,” The Monist, LXIII (1980).
“The Myth of Artistic Singularity,” Proceedings of the Ninth International Congress of Aesthetics (Dubrovnik, 1980).
“Socrates’ Discovery: Some Historical Reflections,” Journal of Aesthetics and Art Criticism, XXXIX (1981).
“Secondary Senses and Aesthetic Concepts: A Reply to Professor Tilghman,” Philosophical Investigations, IV (1981).
“Sound Sentiment: A Reply to Donald Callen,” Journal of Aesthetics and Art Criticism, XLI (1983).
Hume’s Neighbor’s Wife: An Essay in the Evolution of Hume’s Aesthetics,” British Journal of Aesthetics, XXIII (1983).
“Mattheson as a Philosopher of Art,” The Musical Quarterly, LXX (1984).
“Mozart and Monotheism: An Essay in Spurious Aesthetics,” The Journal of Musicology, II (1983).
“Platonism in Music: A Kind of Defense,” Grazer Philsophische Studien, XIX (1983).
“Aesthetics,” The Harvard Dictionary of Music (Cambridge: Harvard University Press, 1986).
“It’s Only Music: So What’s to Understand?,” Journal of Aesthetic Education, XX (1986).
“Platonism in Music: Another Kind of Defense,” American Philosophical Quarterly, XXIV (1987).
“Orchestrating Platonism,” Festerschrift for Goren Hermeren (Lund, Sweden, 1988).
“Live Performances and Dead Composers: On the Ethics of musical Interpretation,” Human Agency (Stanford: Stanford University Press, 1988.)
“On Historically Authentic Performance,” The Monist, LXXI (1988).
“Seeing (and so forth) is Believing (among other things): On the significance of Thomas Reid for the History of Aesthetics,” The Philosophy of Thomas Reid, ed. Melvin Dalgarno and Eric Matthews (Dordrecht: Kluwer, 1989). 7
“Something About Hanslick,” Journal of Aesthetics and Art Criticism, XLVI (1988).
“Hearing the Emotions,” Philosophic Exchange, Nos. 19-20 (1988-89).
“What was Hanslick Denying?,” The Journal of Musicology, VIII (1990).
“A New Music Criticism?,” The Monist, LXXIII (1990).
“Opera Talk: A Philosophical Phantasie,” Cambridge Opera Journal, II (1990).
“The Profundity of Music,” Proceedings of the 11th International Congress of Aesthetics (Nottingham, 1990).
“Science and Aesthetic Appreciation,” Midwest Studies in Philosophy vol. XVI: Philosophy and the Arts, ed. Peter A. French, Theodore E. Uehling, Jr. and Howard K. Wettstein (Notre Dame, Indiana: University of Notre Dame Press, 1991).
“Is Music an Art?,” Journal of Philosophy, LXXVIII (1991).
“Kant and the Affektenlehre: What He Said, and What I wish He Had Said,” Kant’s Aesthetics: North American Kant Society Studies in Philosophy, vol. 1, ed. Ralf Meerbote (Atascadero, California: Ridgeview, 1991).
“Oh Boy! You Too! Aesthetic Emotivism Reexamined,” The Philosophy of A. J. Ayer: The Library of Living Philosophers, vol. XXI, ed. L.E. Hahn (La Salle, Illinois: Open Court, 1992).
“Listening: A Response to Alperson, Davies and Howard,” Journal of Aesthetic Education, XXVI (1992).
“Hutcheson’s Idea of Beauty: Simple or Complex?,” Journal of Aesthetics and Art Criticism, L (1992).
“Composers and ‘Composers’: A Response to David Rosen,” Cambridge Opera Journal, IV (1992), pp.179-186.
“From Ideology to Music: Leonard Meyer’s Theory of Style–Change” (review article on Meyer’s Style and Music), Current Musicology, IL (1992), pp. 66- 80.
8
“How Did Mozart Do It?: Living Conditions in the World of Operas,” Peter Kivy, The Fine Art of Repetition And Other Essays in the Philosophy of Music (London and New York: Cambridge University, 1993).
“How Did Mozart do It?: Replies To Some Critics,” Kivy, The Fine Art of Repetition.
“The Fine Art of Repetition,” Kivy, The Fine Art of Repetition.
“Auditors’ Emotions: Contention, Concession and Compromise,” Journal of Aesthetics and Art Criticism, LI (1993).
“Differences” (Presidential Address to American Society for Aesthetics), Journal of Aesthetics and Art Criticism, LI (1993), pp. 123-132.
“Speech, Song, and the Transparency of Medium: A Note on Operatic Metaphysics,” Journal of Aesthetics and Art Criticism, 52 (1994).
“Hume’s ‘Sentiments’ in the Essay of Taste,” Aesthetic Matters: Essays presented to Göran Sörbom on his 60th Birthday, ed. Lars-Olaf Ahlberg and Tommie Zaine (Uppsala, 1994).
“From Literature as Imagination to Literature as Memory: A Historical Sketch,” Institutions of Art: Reconsiderations of George Dickie’s Philosophy, ed. Robert J. Yanal (University Park: Penn State Press, 1994).
“Feeling the Musical Emotions,” British Journal of Aesthetics, 39 (1995).
“Kant, Music, and the Modern System of the Arts,” Paradigms of Philosophy, ed. Liubava Moreva and Igor Yevlampiev (St Petersburg, Russia, 1995).
“On the Banality of Literary Truths,” Philosophic Exchange, Number 28, (1998).
“Gurney, Edmund,” Encyclopedia of Aesthetics, ed. Michael Kelly (Oxford and New York: Oxford University Press, 1998), vol. 2, pp. 342-346.
“How to Forge a Musical Work,” Journal of Aesthetics and Art Criticism, 85 (2000).
“Sibley’s Last Paper,” Aesthetic Concepts: Essays After Sibley, ed. Emily Brady and Jerrold Levinson (Oxford: Clarendon Press, 2001).
“On the Historically Informed Performance,” British Journal of Aesthetics, 42 (2002).
9
“Intentional Forgeries and Accidental Versions: A Response to John Dilworth,” British Journal of Aesthetics, 42 (2002).
“Jokes Are a Laughing Matter,” Journal of Aesthetics and Art Criticism, 61 (2003).
“Continuous Time and Interrupted Time: Two-Timing in the Temporal Arts,” Musicae Scientiae, Discussion Forum 3 (2004).
“Reid’s Philosophy of Art,” The Cambridge Companion to Thomas Reid, ed. Terence Cuneo and René Woudenberg (Cambridge: Cambridge University Press, 2004).
“Music, Language, and Cognition: Which Doesn’t Belong?,” Truth, Rationality, Cognition, and Music, Proceedings of the Seventh International Colloquium on Cognitive Science, ed. Kepa Korta and Jesus M. Larrazabal (Dordrecht: Kluwer, 2004).
“Ars Perfecta: Toward Perfection in Musical Performance?,” The British Journal of Aesthetics, 46 (2006).
“Mood and Music: Some Reflections for Noel Carroll,” Journal of Aesthetics and Art Criticism, 64 (2006).
“Critical Study: Deeper than Emotion,” British Journal of Aesthetics, 46 (2006).
“Another Go at Musical Meaning: Koopman, Davies, and the Meanings of ‘Meaning,’” Contemporary Philosophy, Volume 9, Aesthetics and Philosophy of Art, ed. G. Fløistad (Dordrecht: Springer, 2007).
“Moodology: A Response to Laura Sizer,” Journal of Aesthetics and Art Criticism, 65 (2007).
“Moodophilia: A Response to Noel Carroll and Margaret Moore,” Journal of Aesthetics and Art Criticism, 65 (2007).
“The Perception of Beauty in Hutcheson’s First Inquiry: A Response to James Shelley,” British Journal of Aesthetics, 47 (2007).
“John Balguy and the Sense of Beauty: A Rational Realist in the Age of Sentiment,” Enlightenment and Dissent, No. 23 (2004-2007).
“Musical Morality,” Review Internationale de Philosophy, 62 (2008).
10
“Fictional Form and Symphonic Structure: An Essay in Comparative Aesthetics, Ratio (new series), 22 (2009).
“Leonard Meyer’s Sonata: First Theme and Second Theme,” Musica Humana, 1 (2009).
“The Other Shoe: Some Thoughts for Christopher Peacocke,” British Journal of Aesthetics, 49 (2009).
“Mozart’s Skull: Looking for Genius (in All the Wrong Places),” The Harvard Review of Philosophy, 16 (2009).
“The Experience of Reading,” A Companion to the Philosophy of Literature, ed. Garry L. Hagberg and Walter Jost (Chichester: Wiley-Blackwell, 2010).
“Moralidad musical” (Spanish translation of “Musical Morality”), Significado, emoción y valor: Ensayos sobre filosofia de la músuca, ed. José Alcaraz y Francisca Pérez Carreńo (Madrid: La balsa de la Medusa, 2010).
“Remarks on the Varieties of Prejudice in Hume’s Essay on Taste,” The Journal of Scottish Philosophy, 9 (2011).
“Paraphrasing Poetry (for Profit and Pleasure),” Journal of Aesthetics and Art Criticism, 69 (2011).
“What Really Happened in the Eighteenth Century: The ‘Modern System’ Reexamined (Again),” British Journal of Aesthetics, 52 (2012).
(D) Book Reviews:
Review of Edward Lockspeiser, Music and Painting, Journal of Aesthetics and Art Criticism, XXXIII (1974).
Review of Berel Lang, Art and Inquiry, Philosophy and Phenomenological Research, XXXVI (1975).
Review of Justus Buchler, The Main Light, Philosophical Review, LXXXV (1976).
Review of Alfred Brendel, Musical Thoughts and Afterthoughts, Journal of Aesthetics and Art Criticism, XXXVI (1978).
Review of Jose A. Arguelles, The Transformative Vision, The Eighteenth Century: A Current Bibliography, II (1979), N. S.
11
Review of Roger Sessions, Roger Sessions on Music, Journal of Aesthetics and Art Criticism, XXXVIII (1980).
Review of Marie Antoinette Manca, Harmony and the Poet, Italian Quarterly, XXI (1980).
Review of Stephen Pepper, Aesthetic Quality: A Contextualist Theory of Beauty, Retrospective Review Article, Journal of Aesthetics and Art Criticism, XL (1981).
Review of Karl Ashenbrenner, Analysis of Appraisal Characterization, Journal of Aesthetics and Art Criticism, XLII (1984).
Review of Wye Jamison Allenbrook, Rhythmic Gesture in Mozart, Dance Research Journal, XVII (1985).
Review of Malcolm Budd, Music and Emotions, The Philosophical Quarterly, XXXVI (1986).
Review of Anthony Savile, The Test of Time, International Studies in Philosophy, XVIII (1986).
Review of Roman Ingarden, The Work of Music and the Problem with Its Identity, Journal of Aesthetics and Art Criticism, XLV (1987).
Review of Don Harren, Word-Tone Relations in Musical Thought, Notes, Dec. (1987).
Review of Paul Robinson, Opera Ideas from Mozart to Strauss, Cambridge Opera Journal, I (1989).
Review of Nicholas Cook, Music, Imagination and Culture, Journal of Aesthetics and Art Criticism, L (1992).
Review of William Stafford, Mozart’s Death: A Corrective Survey of the Literature, Music and Letters, LXXIII (1992), pp. 594-595.
Review of Anthony Savile, Kantian Aesthetics Pursued, Mind, 103 (1994).
Review of Francis Sparshott, The Future of Aesthetics, The Philosophical Quarterly, 50 (2000).
Review of Dabney Townsend, Hume’s Aesthetic Theory: Taste and Sentiment, Journal of Scottish Philosophy , I (2003).
12
Review of Alexander Broadie (ed.), Thomas Reid on Logic, Rhetoric and the Fine Arts: Papers on the Culture of the Mind, Eighteenth-Century Scotland: The Newsletter of the Eighteenth-Century Scottish Studies Society, No. 20 Spring (2006).
Review of Ted Cohen, Thinking of Others, Journal of Aesthetics and Art Criticism, 68 (2010).
3. Public Lectures and Talks
“Lectures on the Fine Arts: an Unpublished Manuscript of Thomas Reid’s,” Philosophy Colloquium, Columbia University, 1965.
“Child Mozart: an Aesthetic Symbol,” American Musicological Society, Greater New York Chapter, 12 Feb., 1966.
“The Being and Appearing of Unity in Music,” Philosophy Colloquium, City College of CUNY, 21 Nov., 1968.
“What Matteson Said,” American Musicological Society, Greater New York Chapter, 17 Jan., 1970.
“Are Aesthetic Terms Ungovernable?,” Philosophy Colloquium, University of Missouri at St. Louis, 20 Oct., 1970.
“The Conditioned-Governed Model,” 29th Annual Meeting of the American Society for Aesthetics, University of Southern California, Los Angeles, 29 Oct., 1971.
“ ‘Seems’ and ‘Is,’” The Seventh International Congress of Aesthetics, Bucharest, Romania, 29 Aug., 1972.
“What Makes ‘Aesthetic’ Terms Aesthetic?,” Noon-Day Talks on Works in Progress, Livingston College, Rutgers University, April 12, 1973.
“How Not to Make a Work of Art,” Philosophy Colloquium, University of Missouri at St. Louis, March 13, 1974.
“Something Happened on the Way to the Coda,” 40th Annual Meeting of the American Musicological Society, Washington, D. C., Nov. 3, 1974.
“How Not to Make a Work of Art,” Philosophy Colloquium, Dartmouth College, 15, Nov. 1974.
“How Not to Make a Work of Art,” Philosophy Colloquium, SUNY at Stony 13
Brook, Feb. 28, 1975.
“The Logic of Taste from Addison to Gerard,” University Seminar on Eighteenth Century European Culture, Columbia University, March 20, 1975.
“How to Emote Over Music Without Losing your Respectability,” Music Colloquium, University of Wisconsin, Madison, April 24, 1975.
“Voice and Verse,”33rd Annual Meeting of the American Society for Aesthetics, John Hopkins University, Oct. 30, 1975.
“Voice and Verse,” New Jersey Regional Philosophical Association, Livingston College, Rutgers University, Nov. 13, 1976.
“Voice and Verse,” American Musicological Society, Greater New York Chapter, Feb. 19, 1977.
“How to Emote Over Music Without losing Your Respectability,” Joint Colloquium of the Philosophy and Music Departments, SUNY at Binghamton, March 10, 1977.
“A Dose of Librium or a Dose of Music?,” American Musicological Society, Greater New York Chapter, March 19, 1977.
“Aesthetic Concepts: Something Old, Something New, Something Borrowed, Something True,” Annual Meeting of the American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Pacific Grove, California, 9 April, 1977.
“Thomas Reid and the Expression Theory of Art,” Inaugural Meeting, Northeast American Society for Eighteenth-Century Studies, University of Rochester, Oct. 14, 1977.
“The Corded Shell: Reflections on Musical Expression,” Columbia College, Undergraduate Philosophy Students Association, March 1, 1978.
“The Corded Shell: Reflections on Musical Expression,” Philosophy Section, Rutgers University, Feb. 13, 1978.
“Identity Problems,” New Jersey Regional Philosophy Association, William Patterson College, May 13, 1978.
“The Corded Shell: Historical Reflections on Musical Expression,” Music Colloquium, University of Chicago, May 17, 1978.
“The Face of the Beagle: Analytic Reflections on Musical Expression,” 14
Philosophy Colloquium, University of Chicago, May 18, 1978.
“A Candid Look at Pangloss: Voltaire, Hume, and the Problem of Evil,” University Seminar on Eighteenth-Century European Culture, Columbia University, Nov. 16, 1978.
“Tone, Text and Title,” University of Cincinnati, Fifteenth Annual Philosophy Colloquium: Art and Language, Dec. 2, 1978.
“Of Retention: The Memory of Empiricism,” Tenth Annual Meeting of the American Society for Eighteenth-Century Studies, Atlanta, April 19, 1979.
“A Failure of Aesthetic Emotivism,” 37th Annual Meeting of the American Society for Aesthetics, University of Arizona, Tucson, Oct. 26, 1979.
“Reflections on Musical Expression,” Brockport Academic Lecture Series, SUNY at Brockport, Feb. 21, 1980.
“Tone, Text and Title,” Brockport Academic Lecture Series, SUNY at Brockport, Feb. 21, 1980.
“Melville’s Billy Budd and the Secular Problem of Evil,” Brockport Academic Lecture Series, SUNY at Brockport, Feb. 22, 1980.
“A Failure of Aesthetic Emotivism,” Brockport Academic Lecture Series, SUNY at Brockport, Feb. 22, 1980.
“Reflections on Musical Representation,” Philosophy Colloquium, University of Maryland, Baltimore County, Fall, 1980.
“Reflections on Musical Expression,” N.Y.U. Philosophy Club, Dec. 10, 1980.
“From the Heart, But in the Head (Maybe),” Annual Meeting of the American Society for Aesthetics, Milwaukee, Fall, 1980.
“The Corded Shell in Retrospect,” Symposium on Peter Kivy’s The Corded Shell: Reflections on Musical Expression, Annual Meeting of the American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Pacific Grove, California, March 19, 1981.
“Hume’s Neighbor’s Wife: Reflections on Aesthetic and Moral Theory in Hutcheson and Hume,” 10th Hume Conference, Trinity College, Dublin, 25-28 Aug., 1981.
“The Corded Shell in Retrospect,” Columbia University Graduate Music 15
Colloquium, Nov. 20, 1981.
“Invited Symposium: Monroe Beardsley Retrospective,” Annual Meeting of the American Philosophical Association, Pacific Division, Sacramento, California, March 26, 1982.
“Live Performances and Dead Composers: On the Ethics of Musical Performance,” Department of Philosophy, Swarthmore College, 5 October, 1982.
“The Corded Shell in Retrospect,” Philosophy and Music Colloquium, Temple University, October 15, 1982.
“Live Performances and Dead Composers: On the Ethics of Musical Performance,” Trenton State College Philosophy Club, March 8, 1982.
“Resemblance Reasserted,” American Philosophical Association, Pacific Division, Berkeley, California, March 25, 1983.
“Why Should We Care About Better or Worse?,” American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Pacific Grove, California, April 6, 1983.
“Live Performances and Dead Composers: On the Ethics of Musical Performance,” Philosophy Colloquium, Arizona State University, Tempe, Arizona, April 11, 1983.
“Music Depicting and Music Described,” British Society of Aesthetics, The 1983 National Conference, London University, September 17, 1983.
“Representation and Expression in Music,” Institute for Aesthetics, Uppsala University, Uppsala, Sweden, October 4, 1983.
“Music Depicting and Music Described,” Philosophy Colloquium, Lund University, Lund, Sweden, October 11, 1983.
“Music as Narration,” Musicology Colloquium, Lund University, Lund, Sweden, October 12, 1983.
“The Art of Invention: Opera as ‘Invented’ Art,” Symposium on Invented Art, The Kitchen, New York City, March 25, 1984.
“Osmin’s Rage: Philosophical Reflections on Opera, Drama and Text,” American Society for Aesthetics, Los Angeles, November, 1984.
“Discovering Music,” American Philosophical Association, Eastern Division, 16
New York, December, 1984.
“How Music Moves,” American Philosophical Association, Pacific Division, San Francisco, March 21, 1985.
“Symposium on Peter Kivy’s Sound and Semblance,” American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Pacific Grove, California, April 4, 1985.
“How Music Moves,” Drew University, Philosophy Colloquium, April 10, 1985.
“Osmin’s Rage: Philosophical Reflections on Opera, Drama and Text,” Drew University, Public Lecture, April 10, 1985.
“How Music Moves,” Taft Lecture, University of Cincinnati, May 9, 1985.
“Live Performances and Dead Composers: On the Ethics of Musical Performance,” Taft Lecture, University of Cincinnati, May 10, 1985.
“Seeing (and so forth) is Believing (among other things): On the Significance of Thomas Reid for the History of Aesthetics,” University of Aberdeen, Conference on the Philosophy of Thomas Reid, Sept. 3, 1985.
“How Music Moves,” Helsinki University, Conference on the Philosophy of Music, Sept. 5, 1985.
“Live Performances and Dead Composers: On the Ethics of Musical Interpretation,” Lund University, Lund, Sweden, Department of Musicology, Sept. 12, 1985.
“How Music Moves,” Department of Philosophy, Lund University, Lund, Sweden, Sept. 16, 1985.
“Handel’s Operas,” Department of Musicology, Lund University, Lund, Sweden, Sept. 17, 1985.
“How Music Moves,” Department of Philosophy, Stirling University, Stirling, Scotland, October 10, 1985.
“How Music Moves,” Department of Philosophy, University of Glasgow, Glasgow, Scotland, October 11, 1985.
“Seeing (and so forth) is Believing (among other things): On the Significance of Thomas Reid for the History of Aesthetics,” Department of Philosophy, 17
Edinburgh University, Scotland, October 25, 1985.
“How Music Moves,” Institute for Advanced Studies in the Humanities, Edinburgh University, Scotland, October 31, 1985.
“Cartesian Psychology and Handelian Opera Seria: A Meeting of Science and Music,” Boston Colloquium for the Philosophy of Science, Boston University, Feb. 11, 1986.
“Machine Music,” Annual Meeting of the American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Pacific Grove, California, April 3, 1986.
“Thongs ‘n Things,” Annual Meeting of the American Philosophical Association, Central Division, St. Louis, Missouri, May 2, 1986.
“Platonism in Music: Another Kind of Defense,” American Philosophical Association, Pacific Division, San Francisco, California, 27 March, 1987.
“On the Historically Authentic Performance,” Annual Meeting of the American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Pacific Grove, California, April 1, 1987.
“How Music Moves,” Public Lecture, Kansas State University, Manhattan, Kansas, April 9, 1987.
“Oh Boy! You Too!: Aesthetic Emotivism,” Department of Philosophy, Kansas State University, Manhattan, Kansas, April 9, 1987.
“Orchestrating Platonism,” American Philosophical Association, Western Division, Chicago, Illinois, May 1, 1987.
“How Music Moves,” Department of Philosophy, University of Colorado, Boulder, Colorado, September 28, 1987.
“Enjoying Music,” Music Department, University of Colorado, Boulder, Colorado, September 29, 1987.
“Something I’ve Always Wanted to Know About Hanslick (But Have Been Afraid To Ask Until Now),” Annual Meeting of the American Society for Aesthetics, Kansas City, Kansas, October 29, 1987.
“Hearing the Emotions,” Department of Philosophy, Vanderbilt University, Nashville, Tennessee, November 12, 1987.
“Hearing the Emotions,” The Philosophic Exchange, SUNY AT Brockport, 18
Brockport, NY, February 22, 1988.
“Hearing the Emotions,” American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Pacific Grove, California, March 31, 1988.
“Hearing the Emotions,” Music Colloquium, Gettysburg College, Gettysburg, Pennsylvania, April 12, 1988.
“The Profundity of Music,” 11th International Congress of Aesthetics, Nottingham, England, September 2, 1988.
“Hearing the Emotions,” Department of Philosophy, Lancaster University, Lancaster, England, March 1, 1989.
“Enjoying Music,” Department of Philosophy, Stirling University, Stirling, Scotland, March 2, 1989.
“Oh Boy! You Too!: Aesthetic Emotivism Reexamined,” Department of Philosophy, Edinburgh University, Edinburgh, Scotland, March 3, 1989.
“The Profundity of Music,” Philosophy of Music Seminar, Magdalen College, Oxford University, March 8, 1989.
“The Profundity of Music,” Department of Philosophy, Central Washington University, Ellensburg, Washington, October 11, 1989.
“Music and the Liberal Education,” William O. Douglass Honors College, William O. Douglass Lecture, Central Washington University, Ellensburg, Washington, October 12, 1989
“Hearing the Emotions,” Department of Philosophy, University of Washington, Seattle, Washington, October 13, 1989.
“Discovering more About Discovering Music,” American Society for Aesthetics, Pacific Division, Pacific Grove, California, April 6, 1990.
“Kant and the Affektenlehre,” Conference on Kant’s Third Critique, University of Rochester, Rochester, New York, 12 May 1990.
“Music and the Liberal Education,” Conference on the Philosophy of Music Education, Indiana University, Bloomington, Indiana, July 10, 1990 .
“Comments on Comments on Music Alone,” Annual Meeting of the American Society for Aesthetics, University of Texas, Austin, Texas, October 25, 1990.
“How Did Mozart Do It?: Living Conditions in the World of Opera,” Mozart 19
Conference, Hofstra University, Hempstead, New York, February 10, 1991.
“The Fine Art of Repetition,” North Texas State University, Denton, Texas, Public Lecture, March 7, 1991.
“Science and Aesthetic Appreciation,” Philosophy Colloquium, Trinity University, San Antonio, Texas, April 18, 1991.
“The Fine Art of Repetition,” Resonant Intervals: Interdisciplinary Perspectives of Music, University of Calgary, Calgary, Alberta, Canada, May 11, 1991.
“Authenticity as Intention,” two lectures delivered to the NEH Summer Institute on Aesthetics, San Francisco University, San Francisco, California, July 16 and 17, 1991.
“Oh boy! You Too!: Aesthetic Emotivism Reexamined,” Annual Meeting of the American Society of Aesthetics, Portland, Oregon, November 1, 1991.
“The Fine Art of Repetition,” Music Colloquium, Yale University, New Haven, Connecticut, November 18, 1991.
“Is Music an Art?,” invited lecture, American Philosophical Association, Eastern Division, New York City, 29 Dec. 1991.
“Music and the Liberal Education,” Public Lecture under the auspices of the Stieren Arts Enrichment Series, Trinity University, San Antonio, Texas, April 17, 1992.
“Differences,” Presidential Address, Annual Meeting of the American Society for Aesthetics, Philadelphia, Pennsylvania, October 29, 1992.
“Personal Authenticity and Musical Performance,” Philosophy Department, New School for Social Research, New York City, February 11, 1993.
“The Authenticity of Sound,” King’s College, Music Department, University of London, London, England, February 24, 1993.
Seminar on Susanne Langer, Musicology Department, Magdalen College, Oxford University, Oxford, England, March 1, 1993.
“Visible Music,” University of Lancaster, Lancaster, England, March 4, 1993.
“Visible Music,” Royal Holloway College, Music Department, London University, Surrey, England, March 8, 1993.
“Auditors’ Emotions,” Philosophy Department, University College, London 20
University, London, England, March 10, 1993.
“Personal Authenticity and Musical Performance,” Wales Philosophical Society, Newton, Wales, March 27, 1993.
“Musical Representation Defended,” Institute for Aesthetics, Uppsala University, Uppsala, Sweden, May 4, 1993.
“Auditors’ Emotions,” Institute for Aesthetics, Uppsala University, Uppsala, Sweden, May 6, 1993.
“Musical Representation Defended,” Lund/Copenhagen Philosophical Society, Lund University, Lund, Sweden, May 12, 1993.
“Personal Authenticity and Musical Performance,” Department of Musicology, Lund University, Lund, Sweden, May 13, 1993.
“Auditors’ Emotions,” Department of Philosophy, Lund University, Lund, Sweden, May 14, 1993.
“Personal Authenticity and Musical Performance,” Philosophy Colloquium, University of Victoria, British Columbia, March 4, 1994.
“Visible Music,” Music Colloquium, University of Victoria, British Columbia, March 4, 1994.
“The ‘Sense’ of Beauty and the ‘Sense’ of ‘Art’,” Conference Commemorating the 300th Anniversary of Francis Hutcheson, University of Glasgow, Scotland, April 9, 1994.
“Personal Authenticity and Musical Performance,” Music Colloquium, Wake Forest University, April 21, 1994.
“Reading and Representation,” Philosophy Colloquium, Wake Forest University, April 21, 1994.
“The Authority of Personal Authenticity in Musical Performance,” Philosophy Colloquium, Columbia University, September 29, 1994.
“The Possible and the ‘Possible’: Comments on DeMarco’s ‘The Becoming of Possible Music,” Meeting of the American Philosophical Association, Central Division, Kansas City, Missouri, May 6, 1994.
“Reading and Representation,” Philosophy Colloquium, CUNY, Graduate Center, November 16, 1994.
21
“Emotions, Meaning, Profundity, Genius: Some vagrant Remarks,” American Society for Aesthetics, Pacific Division, Pacific Grove, California, Asilomar Conference Grounds, April 12, 1995.
“Hanslick: Old Thoughts, New Thoughts, Second Thoughts,” Joint Meeting of The Canadian Philosophical Association and the Canadian Society for Aesthetics, Montreal, Canada, June 3, 1995.
“Kant, Music, and the Modern System of the Arts,” Second International Conference on Philosophy and Culture, St Petersburg, Russia, 10-15 August, 1995.
“The Liberation of Music,” Hungarian Association for Aesthetics, Budapest, Hungary, October 13, 1995.
“The Liberation of Music,” Department of Music, University of Iowa, Iowa City, Iowa, November 5, 1995.
“The Liberation of Form from Content,” Public Lecture, University of Iowa, Iowa City, Iowa, November 10, 1995.
“Reading and Representation,” Iowa Philosophical Association, University of Iowa, Iowa City, Iowa, November 11, 1995.
“The Liberation of Music,” Department of Music, Distinguished Lecturer Series, University of California, Santa Barbara, California, February 9, 1996.
“The Laboratory of Fictional Truth,” Department of Philosophy, University of California, Santa Barbara, California, February 16, 1996.
“Music in the Movies: A Philosophical Inquiry,” Humanities Institute, University of California, Santa Barbara, California, March 14, 1996.
“The Laboratory of Fictional Truth,” Department of British and American Studies, University of Oslo, Oslo, Norway, April 18, 1996.
“Reading and Representation,” Department of Philosophy, Lund University, Lund, Sweden, April 22, 1996.
“The Laboratory of Fictional Truth,” Graduate Seminar in Practical Philosophy, Lund University, Lund, Sweden, April 23, 1996.
“The Liberation of Music,” Musicology Seminar, Lund University, Lund, Sweden, April 24, 1996
“The Laboratory of Fictional Truth,” Department of Philosophy, Hull University, 22
Hull, U.K., April 30, 1996.
“The Liberation of Music,” Public Lecture, Ripon College, Ripon, Wisconsin, October 28, 1996.
“The Laboratory of Fictional Truth,” Criticism Seminar, Ripon College, Ripon, Wisconsin, October 29, 1996.
“The Laboratory of Fictional Truth,” Philosophy Colloquium, Notre Dame University, South Bend, Indiana, September 20, 1996.
“The Laboratory of Fictional Truth,” Musicology Seminar, University of Pennsylvania, Philadelphia, Pennsylvania, November 12, 1996.
“Movements and ‘Movements,’” Music and Social Movements, Interdisciplinary Conference Center, University of California, Santa Barbara, California, February 22, 1997.
Faculty Seminar on Musical Performance, Carleton College, Northfield, Minnesota, February 28, 1997.
“Sibley’s Last Paper,” Conference on Frank Sibley’s Aesthetics, Ambleside, England, April 4, 1997.
“The Liberation of Music,” American Philosophical Association, Pittsburgh, Pennsylvania, April 25, 1997.
“The Problem of Absolute Music,” Nordic Society of Aesthetics, May 9, 1997
“Odd Man Out: Joseph Haydn and the Idea of Musical Genius,” Bard Music Festival, Bard College, Annandale-on-Hudson, 15 August, 1997.
“Philosophy and the New Musicology,” International Congress of Musicology, London, England, August 18, 1997.
“Odd Men Out: Bach, Haydn and the Idea of Musical Genius,” Music Colloquium, University of North Carolina, Chapel Hill, North Carolina, February 27, 1998.
“Work, Performance and Early Notation,” Conference in Honor of Leo Treitler, CUNY, New York, NY, March 28, 1998.
“Odd Man Out: Franz Joseph Haydn and the Idea of Musical Genius,” Annual Meeting, Pacific Division, American Society for Aesthetics, Asilomar Conference Grounds, Pacific Grove, California, April 3, 1998.
23
“Movements and ‘Movements,’” Open University Conference on the Philosophy of Music, London, England, April 22, 1998.
“The Experience of the Musical Emotions,” Conference on Music and Emotion, University of Geneva, Emotion Research Group, Geneva, Switzerland, May 14, 1998.
“Absolute Music and the New Musicology,” 10th International Conference on Nineteenth-Century Music, University of Bristol, Bristol, England, July 17, 1998.
“Why Does Idomeneo Have a Happy Ending?,” Annual Meeting, American Society for Aesthetics, University of Indiana, Bloomington, Indiana, November 7, 1998.
“Making the Codes and Breaking the Codes: Two Revolutions in Twentieth- Century Music,” Festival on Minimalism in Music, Berliner Gesellschaft fur Neue Musik, Berlin, Germany, December 14, 1998.
“Note-for-Note,” Symposium, American Philosophical Association, Eastern Division, Washington, D.C., December 29, 1998.
“Odd Men Out: Bach, Haydn and the Idea of Musical Genius,” Public Lecture, University of Wisconsin, Madison, Wisconsin, February 18, 1999.
“Music Theory and Music Appreciation,” Philosophy Colloquium, University of Wisconsin, Madison, Wisconsin, February 19, 1999.
Lecture on Philosophy of Music, U.S. Military Academy, West Point, New York, April 9, 1999.
“Hume’s Unaccountable Pleasure,” Annual Meeting of the Hume Society, Cork University, Cork City, Ireland, July 20, 1999.
“Jokes are a Laughing Matter,” Annual Meeting of the American Society for Aesthetics, Washington, D. C., October 28, 1999.
“Odd Men Out: Bach, Haydn and the Idea of Musical Genius,” Public Lecture, Texas Tech University, Lubbock, Texas, November 18, 1999.
“Reconstructing Genius,” Philosophy Colloquium, Texas Tech University, Lubbock, Texas, November 19, 1999.
“Mozart’s Second Childhood,” Conference on Mozart, Department of Music, Goldsmiths’ College, London University, England, January 26, 2000.
24
“Reconstructing Genius,” Department of Philosophy, Glasgow University, Glasgow, Scotland, March 8, 2000.
“Reconstructing Genius,” Department of Philosophy, Southhampton University, England, February 15, 2000.
“Reconstructing Genius,” Philosophy Program, CUNY, Graduate Center, New York, NY, April 18, 2000.
“Odd Men Out: Bach, Haydn and the Idea of Musical Genius,” Columbia University Seminar on Eighteenth-Century Culture, February 22, 2001.
“Reconstructing Genius,” Philosophy Colloquium, Emory University, Atlanta, Georgia, March 1, 2001.
“Mozart’s Second Childhood,” The Monroe Beardsley Lecture, Philosophy Department, Temple University, April 6, 2001.
“Music, Language, and Cognition: Which Doesn’t Belong?” Invited Lecture, 7th International Colloquium on Cognitive Science, San Sebastian, the Basque Country, May 10, 2001.
“Reconstructing Genius” (Tutorial), 7th International Colloquium on Cognitive Science, San Sebastian, the Basque Country, May 12, 2001.
“Mozart’s Second Childhood” (Tutorial), 7th International Colloquium on Cognitive Science, San Sebastian, the Basque Country, May 12, 2001.
“Kant’s Philosophy of Music: Another (Critical) Look,” Philosophy Colloquium, University of Oregon, Eugene, Oregon, 10 Oct. 2002.
Symposium on my book, The Possessor and the Possessed, with my responses to my critics, American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Monterey, California, 3 April, 2003.
“Ars Perfecta: Towards Perfection in Musical Performance,” Conference on the Future of Musical Performance, Goldsmiths’ College of the University of London, 8 November, 2003.
“Continuous Time and Interrupted Time: Two-timing in the Temporal Arts,” Colloquium, University of Arts and Design, Budapest, Hungary, 12 October 2004.
“A Tale of Two Authenticities,” Colloquium, Institute of Art Theory and Media Research, Budapest, Hungary, 14 October, 2004.
25
“A Tale of Two Authenticities,” Philosophy Colloquium, University of York, York, England, 17 February, 2005.
“First the Music, then the Words: Philosophical Reflections on a ‘Philosophical’ Opera,” Department of Music, Goldsmiths’ College of London University, London, England, 22 February, 2005.
“A Tale of Two Authenticities,” Music Department, University of Aberdeen, Aberdeen, Scotland, 25 February, 2005.
“A Tale of Two Authenticities,” Department of Music, Goldsmiths College of London University, 1 March, 2005.
“First the Music, then the Words: Philosophical Reflections on a ‘Philosophical’ Opera,” Philosophy Colloquium, University of Oxford, Oxford, England, 9 March, 2005.
“The Re-birth of Aesthetics: Praising Wollheim and Pressing On,” invited symposium commemorating Richard Wollheim, American Philosophical Association, Pacific Division, Annual Meeting, San Francisco, California, 25 March, 2005.
“Musical Morality,” Invited Lecture, Ninth East-West Philosophers’ Conference, East-West Center, University of Hawaii, Honolulu, Hawaii, 6 June, 2005.
“A Tale of Two Authenticities,” Philosophy and Music Colloquium, University of British Columbia, British Columbia, Canada, 16 September, 2005.
“A Tale of Two Authenticities,” Philosophy Colloquium, University of Minnesota, Minneapolis, Minnesota, 24 February, 2006.
“Is Music Contagious?,” American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Monterey, California, 29 March, 2006.
“A Tale of Two Authenticities,” Philosophy Colloquium, Vanderbilt University, Nashville, Tennessee, 29 October, 2006.
“Mozart’s Skull: Looking for Genius (In All the Wrong Places),” Riklin Lecture, Wayne State University, Department of Philosophy, Detroit Michigan, 19 October, 2006.
“Mozart’s Skull: Looking for Genius (In All the Wrong Places),” Annual Meeting, American Society for Aesthetics, Milwaukee, Wisconsin, October, 2006.
“The Aesthetics of Literature: A Neglected Topic,” Philosophy Colloquium, University of Pennsylvania, Philadelphia, Pennsylvania, 3 November, 2006.
“Mozart’s Skull: Looking for Genius (in All the Wrong Places),” Aesthetics Forum, University of London, London, England, 31 January, 2007. 26
“A Tale of Two Authenticities,” Philosophy Colloquium, University of East Anglia, Norwich, England, 8 February, 2007.
“The Aesthetics of Literature: A Neglected Topic,” Philosophy Colloquium, University of Leeds, Leeds, England, 15 February, 2007.
“Mozart’s Skull: Looking for Genius (in All the Wrong Places),” Music Department, Leeds University, Leeds, England, 16 February, 2007.
“The Aesthetics of Literature: A Neglected Topic,” Philosophy Colloquium, University of Warwick, Warwick, England, 27 February, 2007.
“Mozart’s Skull: Looking for Genius (in All the Wrong Places),” Music Colloquium, Princeton University, Princeton, New Jersey, 5 April 2007.
“Mozart’s Skull: Looking for Genius (in All the Wrong Places),” Colloquium, Department of Communication, Audiovisual Documentation, and History of Art, Universidad Politecnica de Valencia, Valencia, Spain, 17 April, 2007.
“Musical Morality,” Filosofia de la musica, meeting held at Universidad de Murcia, Murcia, Spain, 19-21 April, 2007.
“Varieties of Prejudice in Hume’s Essay ‘Of the Standard of Taste,” International Hume Conference, Boston University, Boston, Mass., 11 August, 2007.
“Fictional Form and Symphonic Structure: An Essay in Comparative Aesthetics,” Philosophy Colloquium, Syracuse University, Syracuse, New York, 18 September, 2007.
“Shostakovich’s Secret,” Aesthetics Conference in Honor of Gary Iseminger, Department of Philosophy, Carleton College, Northfield, Minnesota, 20 October, 2007.
“Sensibility and Sense: Hutcheson, Hume, and the Rationalist Critique,” The Fourth Annual NYU Conference on Issues in Modern Philosophy, Department of Philosophy, New York University, New York City, 9 November, 2007.
“Mozart’s Skull: Looking for Genius (In All the Wrong Places),” Philosophy and Music Colloquium, Hunter College, New York City, 14 November, 2007.
“Giving the Devil his Due: A Response to my Critics,” invited session, Author-Meets- Critics: Peter Kivy, The Performance of Reading, Annual Meeting of the American Philosophical Association, Pacific Division, Pasadena, California, 22 March, 2008.
“Fictional Form and Symphonic Structure,” Invited Lecture, Ratio Conference 2008 on the Philosophy of Literature, University of Reading, Reading, England, 12 April, 2008.
27
“Is Nothing Sacred?: Confessions of a Non-aggressive Atheist,” Conference on Theological Aesthetics, Institute of Sacred Music, Yale University, New Haven, Connecticut, 30 May, 2008.
“Mozart’s Skull: Looking for Genius (In All the Wrong Places,” Dr. Wing-Chun Wong Memorial Lecture, Department of Philosophy, Towson University, Towson, Maryland, 21 November, 2008.
“Shostakovich’s Secret?,” invited public lecture in connection with the awarding of the honorary Doctor of Music degree, Department of Music, Goldsmiths College of London University, New Cross, London, England, 15 January, 2009.
“Mozart’s Skull: Looking for Genius (In All the Wrong Places),” Green College, Interdisciplinary Studies Graduate Program, and the Department of Philosophy, University of British Columbia, Vancouver, British Columbia, Canada, 18 March, 2009.
“Home Sweet Home,” Annual Meeting of the American Society for Aesthetics, Pacific Division, Asilomar Conference Center, Pacific Grove, California, 15 April, 2009.
“Mozart’s Skull: Looking for Genius (In All the Wrong Places),” 2009 Harvard Review of Philosophy Annual Guest Lecture, Department of Philosophy, Harvard University, Cambridge, Massachusetts, 24 April, 2009.
“The Aesthetics of Literature: A Neglected Subject,” Keynote Address, 14th Annual Shapiro Graduate Philosophy Conference, Brown University, Providence, Rhode Island, 7 November, 2009.
“The Flat, the Round, and the Real,” Annual Meeting of the American Society for Aesthetics, Pacific Division, Asilomar Conference Center, Pacific Grove, California, 8 April, 2010.
“Music, Science, and Semantics: What Can ‘Science’ Tell Us About Musical ‘Meaning’?,” Keynote Address, Israeli Society for Aesthetics, Bar-Ilan University, Tel- Aviv, Israel, 20 May, 2010.
“Messiah’s Message: Con or Anti?,” Graduate Music Forum, Department of Music, Goldsmiths College, University of London, London, England, 19 October, 2010.
“Music, Science, and Semantics: What ‘Science’ Can Tell Us about Musical ‘Meaning’,” Department of Philosophy, Leeds University, Leeds, England, 3 November, 2010.
“Music, Science, and Semantics: What Can ‘Science” Tell Us About Musical ‘Meaning’?,” Royal Musical Association Music and Philosophy Study Group, King’s College, London University, London, England, 10 November, 2010.
28
“Authorial Intention and the Pure Musical Parameters,” Royal Institute of Philosophy, University of London, London, England, 12 November, 2010.
“Music, Science, and Semantics: What ‘Science’ Can Tell Us About Musical ‘Meaning,’” Green College, University of British Columbia, Vancouver, British Columbia, Canada, 18 April 2011.
“Music, Science, and Semantics: What ‘Science’ Can Tell us About Musical ‘Meaning.’” Keynote Address for the Conference: Methodology of/and/in Aesthetics and Philosophy of Art, Indiana University, Bloomington, Indiana, 12 May 2011.
“Ancient Authenticities: Will the Real Greek Tragedy Please Step Forward,” Keynote Address for Conference: Music and Greek Drama: History, Theory, and Practice, University of California at Santa Cruz, Santa Cruz, California, 28 May, 2011.
“Hume’s Taste and the Rationalist Critique,” invited lecture, American Society for Aesthetics, Annual Meeting, Tampa, Florida, 28 October, 2011.
“Operatic Authenticity: Opera as Music Versus Opera as Theater,” invited lecture, American Philosophical Association, Central Division, Chicago, Illinois, 17 February, 2012.
“Aesthetic Action and Aesthetic Truth,” American Society for Aesthetics, Pacific Division, Asilomar Conference Grounds, Pacific Grove, California, 12 April, 2012.
“Operatic Authenticity: Opera as Music Versus Opera as Theater,” Invited Lecture, Conference on the Philosophy of Performance: Art in Modern Society, Notre Dame Conference Center, Notre Dame University, South Bend, Indiana, 27 April, 2012.
“Realistic Song in the Movies,” Conference on Music and Film, New York University, New York City, 2 June 2012.
4. Professional Affiliations and Activities
Member of the American Philosophical Association
Member of the American Society for Aesthetics
Member of the American Musicological Society
Member of the American Society for 18th Century Studies
Member of the Northeast American Society for 18th Century Studies
Member of the International Association for Philosophy and Literature
29
Member of the American Association for Value Inquiry
Member of the Hume Society
Member (invited) of the Institute for Aesthetics, Temple University
Trustee (elected), American Society for Aesthetics (1976-78)
Program Committee Member, American Society for Aesthetics, 1975, 1976, 1977
Chairman, Program Committee, American Society for Aesthetics, 1978
Permanent Member (invited), Columbia University Faculty Seminar on 18th Century European Culture
Associate Editor, Journal of Aesthetics and Art Criticism (1981-2002).
Editorial Consultant, Synthese Library, Philosophy of Art Series.
Nominating Board, The Philosopher’s Annual, Vice-President, American Society for Aesthetics, 1989-1990.
President, American Society for Aesthetics, 1991-1992.
Editorial Consultant, British Journal of Aesthetics.
5. Fellowships, Awards, Etc.
Rutgers Research Council Fellowship, Academic Year, 1970-71.
Deems Taylor Award of A.S.C. A. P. (American Society of Composers, Authors, and Publishers) for The Corded Shell, best book on music, 1980.
American Council of Learned Societies Travel Grant, 1980.
National Endowment for the Humanities senior Research Fellowship, 1983-84.
American Council of Learned Societies Travel Grant, 1985.
Research Fellow, Institute for Advanced Study in the humanities, Edinburgh University, September and October 1985.
Ida Beam Visiting Professor, University of Iowa, Iowa City, November 7-12, 1995.
30
Visiting Professorship, University of California, Santa Barbara, California, Winter Quarter, 1996.
Visiting Lecturer, Music Faculty, Goldsmiths’ College of London University, London, England, Fall, 2002.
Visiting Scholar, Music Faculty, Goldsmiths’ College of London University, London, England, Spring, 2005.
Guggenheim Fellowship, 2004-2005.
Visiting Scholar, Music Faculty, Goldsmiths’ College of London University, London, England, Spring 2007.
Doctor of Music (honoris causa), Goldsmiths’ College of the University of London, 2008.