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Peter Kivy: Curriculum Vitae

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Peter Kivy: Curriculum Vitae 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
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