Music and ConceptualizationThis book is a philosophical study of the relations between hearing and thinking about music. The central problem it addresses is as follows: how is it possible to talk about what a listener perceives in terms that the listener does not recognize? By applying the concepts and techniques of analytic philosophy the author explores the ways in which musical hearing may be described as nonconceptual, and how such mental representation contrasts with conceptual thought. |
Contents
Hearing Ascriptions | 1 |
Musical Hearing as Weakly Nonconceptual 1950 | 57 |
Is There an ObservationTheory Distinction in Music? | 80 |
Theoretically Informed Listening | 117 |
Conceptions of Musical Structure | 132 |
| 153 | |
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Common terms and phrases
aesthetic analysis argue argument attribution belief ascription causal ceptual chord Christopher Peacocke chroma Churchland claim closure cognitive diachronic encapsulation distinction dominant ear training epistemic example experience explain explanatory feature Fodor GTTM hearing ascriptions hypotheses implicational hierarchy inference inferential intension intentional object intuitions issue Jackendoff 1983 Jerry Fodor kinds of musical Kivy Lerdahl and Jackendoff linguistics listener's m.p.-preserving melody mental representation mode of presentation Modularity of Mind modularity theory music analyst music cognition music theory musical hearing musical understanding notion paradox of analysis Peacocke Peacocke's perceived perceptual belief perceptual concepts perceptual hypothesis perceptual system phenomenal similarity pitch plausible properties psychological question referentially transparent relevant role scale degree scalestep Schenkerian analysis semantic sense someone sort sound-event strongly nonconceptual structure ascriptions theoretical belief theory neutrality theory-inequivalent hearing theory-laden thesis things Tibby Tibby's tion tonal tonic trained listener trained musical perception visual vocabulary