Themes in the Philosophy of MusicIs music a language of the emotions? How do recorded pop songs differ from works created for live performance? Is John Cage's silent piece, 4'33", music? Stephen Davies's new book collects some of his most important papers on central topics in the philosophy of music. As well as perennial questions, Davies addresses contemporary controversies, including the impact of modern technology on the presentation and reception of both new and old musical works. These essays, two ofthem new and previously unpublished, are self-standing but thematically connected, and will be of great interest to philosophers, aestheticians, and to theorists of music and art. |
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abstract particulars aesthetic interest ance appreciation appropriate argue artwork audience aural space authentic performance Brahms's Violin Concerto cadenza Cage Cage's characteristics in appearances claim cognitive composer composer's concern with music conventions Cosė fan tutte creative descriptive interpretation disk distinction emotion characteristic emotional object emotional responses emotions expressed example experience exposition expressed in music feel sad felt emotion figured bass Fugue gamelan given hear heard human behavior hypothetical emotionalism Idomeneo imagined individual instance interest in music involves karaoke kind Kivy Levinson listener listener's means merely Mozart's music-minus-one music's expressiveness musical instruments musical performance musicians nature notation notes occurrent emotions ontology opera orchestra overture person philosophers piano piece play possible present properties realization recording relationships relevant sad-looking score second subject significance solo sonata form specified studio performance suggest symphony theory tion transcriber transcription underdetermines understanding unity unity-conferring Vienna Philharmonic work's